Cate Blanchett in 'Tár' becomes a conductor who 'uses' women (and ends badly)

An Oscar-winning performance by the American actress, who in the film competing at the Venice Film Festival transforms herself into a genius of classical music, but with a dark side

 79 Venice International Film Festival 2022 Cate Blanchett in Tár becomes a conductor who 'uses' women (and ends badly) Photo Video

Forget the jumpsuit with the loudly flowery decolleté she wore on the red carpet and raised a few eyebrows. Cate Blanchett, in Tár, is grandiose, immense. She and she is already in the smell of important prizes. In Todd Field's film, in competition at the Venice Film Festival and received with a standing ovation lasting six minutes, Blanchett is Lydia Tár, acclaimed conductor in Berlin (the Berliner Philharmoniker is never openly named, but Lydia quotes Von Karajan, Abbado, the meaning is clear). Charming, narcissistic, Lydia lives with her violinist partner (Nina Hoss), she has an adopted daughter, Petra, she loves matcha tea, young women and most of all, power. And it is precisely the sense of being able to dispose of people as if they were her objects, which will get her into trouble: after the news of one of her former proteges who committed suicide spreads, Lydia's life implodes. Before that girl, it turns out, there were others. Used, deluded into being important. Abandon. - Photo | video

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THE CRACKED STUDENT - Tár, which will be released in February 2023, is a great film because it breaks down the holy cards (yes, even women can harass, rage, mortify) and because it is one of the first major American productions that sends politically correct at all costs to the winds . To a student who declares himself 'non-binary' and says he does not want to play Bach because he was 'male, white and heterosexual', Lydia Tár cries in exasperation that she has not understood anything, that 'the narcissism of differences exalts the most sinister of conformisms '. Cancel culture, Field suggests in her film, is a gigantic trap. But Cate Blanchett doesn't like the idea of ​​a film about #metoo al contario: 'I wouldn't make it a gender issue, this is a story about human beings, about the existential condition - she said in Venice -. Lydia is a person who makes mistakes, there is something that haunts her about her past. She tries to reinvent herself through music and reaches her dream of hers, which however will turn into a nightmare ».

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PIANO LESSONS - To prepare for this role Blanchett - who is also a co-producer - studied German, which she uses casually in many dialogues in the film, took piano lessons and practiced conducting with the Dresdner Philharmonie. «I wanted to learn the gestures, the sense of space on the podium». In an angry scene, in which he drives through Berlin at full speed, he pretends to drive her, without a stuntman. In 2 hours and 38 of the film, there is no scene in which the actress is not present. Director Todd Field was clear: “I didn't write this movie with Cate in mind, I wrote this movie for Cate. Without her, it would never have existed. '