Tár

A cut above in terms of style, performance, and ideas, Todd Field’s film about a celebrity conductor accused of sexual misconduct is essential cinema.

Much like Lydia herself, Tar is a skilful, polished and fascinating piece of work, but it’s missing a beating heart.

The film is a genuine tragedy -- a black comic tragedy, but a tragedy nonetheless. When great artists betray their talent by treating it carelessly and abusing the power that comes with it, it’s always a tragedy.

It’s a phenomenal picture, supported by top-tier crew...

Lydia herself is so compellingly constructed, a perfect synthesis of hypocrisy and denial, that Field’s shortcuts never cost the film much of its nuance.

It is genuinely hard to imagine anyone but Blanchett being able to pull this off so successfully.

By placing the credits at the start of the film, Tár insists that oft-ignored people matter — even if Lydia pretends that they do not.

This film is so brilliant because every aspect of it is so perfect, so well crafted and honed into that perfection. What an absolute marvel this film is.

This script is so incredibly well written and fascinating. I loved the ride this film takes you on as you witness a person become completely unraveled and already can’t wait for the second viewing.

“Tár” is about the horror of being a woman and Tár’s inability to escape the societal gender limits when it comes to accessing and retaining privilege.