Tar *

by Todd Field

American film, 2:38

She has everything: fame, money, media coverage, a sumptuous apartment, a devoted companion, a secretary who can be worked at will and an adorable little girl. While she reigns supreme over the Berlin Philharmonic Orchestra with which she completes a complete symphony by Gustav Mahler, Lydia Tár is overtaken by an “embarrassing” story that smells of harassment. She denies, fights, pugnacious and ironic… but sees herself gradually let go by those who praised her. The fortress cracks, the collapse is announced.

excessively long, Tar has, in addition to its main actress, Cate Blanchett, irreproachable in a composition that smells of composition, solid assets. Stunning icy visuals, a top-flight cast, artistic advice that makes the orchestral conducting scenes (almost) compelling. But Todd Field leaves so much empathy on the edge that indifference invades the viewer. Especially since the film, while it makes “great” music an instrument of power, never lets itself be won over by the power, exciting or poisonous, distilled by the scores defended by Lydia Tár, those of Mahler in particular. .