“Tár” is a musical, but not in the way you might think.
Set to the tempo of classic harmony, writer and director Todd Field triumphantly returns to the director’s chair nearly 16 years after Little Children (2006) and 21 years after his debut “In the Bedroom” (2001). In the process, Field proves for a third time that he is magic and “Tár,” which has been shown in Venice and Telluride, has emerged as a major contender for the Academy Awards. At the forefront of this epic drama is another fiery, near-perfect turn of Cate Blanchett, who is poised to win her eighth Academy Award nomination and could even land a potential third figurine.
“Tár” will tickle the whims of industry voters and movie fans. After the film’s North American premiere at the Telluride Film Festival, Blanchett received a tribute that included highlights of her decades-long career, including her Academy Award-winning roles in The Aviator (2004) and Blue Jasmine (2013). Perhaps we’re noticing the Blanchett trend – she wins an Oscar every nine years?
Its owner Lydia Tarr, the lesbian composer who became the first woman to conduct a major German orchestra, ranks among the most committed and influential turns. Women have no limits, and the actor’s branch in the academy is likely to agree.
Many of Blanchett and Field’s friends came out to cheer them on, including Jeremy Strong and Anne Hathaway from “Armageddon Time” and Paul Mescal from Aftersun, who appeared alongside girlfriend Phoebe Bridgers. For the most part, the audience seemed intrigued, albeit a bit confused. And the narrative complexity of “Tár” can be a challenge during awards season. Like “Bardot,” which has also been shown in Venice and Telluride, this movie can be divisive. But most of the critics have been on Bardot, while Tarr has gained traction and seems certain to have ardent fans. This basic set of support can propel Tarr into the middle of the race.
It’s not all about Blanchett. Field’s top-notch text could ultimately rank as the best of the year, as it asks baffling questions about power, art, and hot topics like “abolition of culture.” It’s a movie that needs to be talked about.
If there’s heart and soul to the movie, look no further than Nina Hoss. As Lydia’s wife, she runs the entire gamut, heralding indelible moments of love, anger, sadness, and fortitude. Hoss should receive her first Academy Award nomination in the Support category.
Several works that do not cross the line also deserve some beloved accolades, most notably the cinematography by Florian Hofmeister and the Academy Award-winning musician Heldor Gonadottir (“Joker”) already in the running after the world premiere of “Women Talking” in Telluride. Could it be a double filter? It is worth.
Focus features will fight tooth and nail to get the movie in front of the right voters. If she is to become the most viable candidate, she may need international voters to significantly support her. For Field, who has been absent from screens for far too long, “Tár” proves that some things are worth the wait.
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