Tár Is Stuck in the Muck of Its Own Highbrow Artiness

Todd Field wants you to think his new movie Tár is a critique of the pretentiousness of the high art world. But the movie is actually trapped in that suffocating world and can’t find a way out.

60th New York Film Festival - "TÁR" Red Carpet

Todd Field, Monika Willi, Hildur Guðnadóttir, Marco Bittner Rosser, Cate Blanchett, Bina Daigeler, Sophie Kauer, and Nina Hoss pose with guests at the “Tár” red carpet event during the 60th New York Film Festival at Alice Tully Hall, Lincoln Center on October 03, 2022 in New York City. (Dimitrios Kambouris / Getty Images for FLC)


The highly praised new drama Tár is written, directed, and produced by Todd Field. With a long career as an actor and producer, he’s directed only three films so far, over many years: two previous prestigious dramas, In the Bedroom in 2001 and Little Children in 2006, and now sixteen years later, there’s Tár, which looks likely to be the most rapturously received one yet.

The film is beautifully shot in elegant neutral tones and features a slow, thoughtful, careful approach to contentious subject matter. It stars the always elegant and compelling Cate Blanchett in a tour de force performance as Lydia Tár , an internationally famous composer and conductor whose career and personal life implode when accusations of abusive behavior toward students and staff — as well as the sexual grooming of young women in exchange for advancement in the orchestra — result in her “cancelation.”

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