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The opening scenes of the film “Tár” depict an interview with fictional composer Lydia Tár, one of the greatest living maestros of classical music, as she discusses being the first woman appointed head conductor of a major German orchestra.

“You cannot start without me, because I start the clock,” she said. “However, unlike a clock, my second hand stops, which means that time stops. The reality is, that it’s not until I once again decide to raise that hand that time is allowed to continue marching along her very, merry way.”

In that moment, we begin to witness a hubris that will descend into absolute disorder, and for the next 158 minutes, we as an audience will witness an imaginary yet monumental downfall unlike any other.

Writer and director Todd Field makes his return to the silver screen with “Tár” after a 16-year hiatus, delivering an immensely striking character study of obsessive power climbing and the descent into madness such hunger creates.

The film incorporates twenty-first century themes, such as cancel culture, entitlement and social boundaries, to craft a compelling, psychological thriller. Field displays these themes openly and leaves room for audience interpretation and discussion, long after they leave the theater.

The film begins as a profile of Lydia Tár as she works on the composition and arrangement of Gustav Mahler’s 5th symphony with the German orchestra. As Lydia’s hunger for fame and recognition grows, her life and mental state deteriorate, leaving her obsessed with the idea of celebrity and paranoid of being forgotten. Ultimately, she self-destructs, tormented by fear, guilt and success from her career as maestro.

“Tár” explores intimate, controversial details from Lydia’s rise to fame, such as an alleged affair to heated outbursts with music students. Despite being a deeply personal exploration of a singular character, Field has crafted “Tár” into a contemporary epic that universally connects to audiences. With a sharp screenplay, minimal editing and flawless sound design, “Tár” has a chilling, ambitious atmosphere that captivates audiences.

The cinematography is carried by the film’s physical setting, particularly the architecture. In a style that is reminiscent of filmmaker Nicholas Ray, Field allows the production to be a character in and of itself, utilizing the setting to enhance his storytelling and bring the tone to life.

Composer Hildur Guðnadóttir’s score also enhances the poignancy of “Tár,” creating the backdrop and obsession that haunts Lydia in her obsessive descent into madness. Whether it’s the music hall, Lydia’s car or the strange echoes and bangs that surround her home, there’s subtle background noise that plagues Lydia as she tries to finish her composition.

Guðnadóttir even recorded a concept album that’s meant to be the work of Lydia Tár, including the piece she was writing in the movie. The album is set to release later this year under the Deutsche Grammophon label.

At the epicenter of “Tár’s” triumph is its incredible casting, specifically Cate Blanchett’s performance as Lydia Tár. Her performance is equally believable as it is captivating — manipulative, confident and theatrical. Blanchett portrays the duality of Lydia’s character with finesse and dimension, depicting a haunting portrait of a woman’s hunger for fame as it eats her alive.

Blanchett’s role was an immense undertaking — she is in every frame of the film — yet this doesn’t hinder her performance. She carries the film with class and intelligence, delivering a performance so captivating that she has a hypnotic effect on her audience.

The supporting characters also deliver particularly powerful performances. Nina Hoss, who plays Lydia Tár’s wife and first violinist Sharon Goodnow, is wonderful in the film as well. As Lydia begins to fall apart, which is leaked to the public, we witness Sharon in the line of fire through the controversies that carry out in the picture. Nina Hoss brings a lighter side to the cruel world of Lydia Tár, with acting on par with Blanchett’s to make the world a lot more engaging.

Noémie Merlant plays Lydia’s assistant Francesca Lentini, who is an emotionally troubled individual. The audience sympathizes with her pain as she learns of and deals with many of Lydia’s problems. She possesses a lot of material, which can potentially damage Lydia Tár’s career, and with that in the air a subliminal tension ensues between “apprentice” and “master.”

Sophie Kauer, making her silver screen debut, plays Russian cellist Olga Retkina, a member of the German orchestra. Lydia becomes infatuated with Olga, which causes Lydia to have conflicting feelings and creates problems in her relationship with Sharon. Mila Bogojevic plays Petra, Tár and Goodnow’s kid daughter, a key role in humanizing Lydia’s professional lifestyle. Lydia’s relationship with Petra is also the only one in the film that doesn’t feel “transactional,” which Sharon says at one point in the film. While the mother-daughter relationship is shown through numerous small chats, they’re served to show signs of Lydia Tár’s disengagement from life outside sanity.

It’s with these performances that “Tár” becomes a puzzle for the audience to solve, wondering what these characters have in the effect of our protagonist’s steady collapse. You’re not told about most of the events that Lydia Tár’s controversy stems from, but rather given hints by the players in which Lydia takes residency in, both emotionally and professionally.

“Tár” is a cosmic odyssey about how power dynamics in modern times build up, and how they’re eventually obliterated. It tackles the subtle harassments and abuses that famous individuals will try to hide from the public, and hope to erase from history itself.

Hopefully Todd Field doesn’t take another sixteen years for another picture, because after “Tár,” the audience will want him back more than ever before.

Published on October 10, 2022 at 11:42 pm