Tár (2022) Dir: Todd Field

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I approached this 2022 psychological drama, from director Todd Field, with a sort of mild intrigue. I wasn't actually too sure what it entailed, beyond featuring a fictional female composer. Regardless, the reputation it holds for the performance of its lead actress, the acclaimed Cate Blanchett, was enough to entice me into watching it. I went into it with an open mind, very much not knowing what to expect from it.

Unsurprisingly, considering the nature of the film, the soundtrack was immense. It featured heavily the music of Gustav Mahler, as well as other great composers, and indeed the original music, composed by Hildur Guðnadóttir. I love when classical music is used effectively in cinema, and this was certainly one of those times. It accompanied the growing drama of the story excellently.

Some of the camerawork was exquisite, particularly when focused upon the film's unravelling protagonist. There are a number of beautifully composed shots, which took advantage of the very smartly chosen sets to create several striking and memorable visuals. I was particularly fond of some of the shots of the Dresden Philharmonic Hall - the emphasis of the room's angles and scale, as well how Field and cinematographer Florian Hoffmeister showed the foreground and background, was exemplary.

The story, and indeed its pacing, was slow but deliberate. I found it to be a fascinating look at actions and consequences, especially in the modern age of social media and editing and neverending paper trails. It showed the sense and absurdity of modern cancel culture quite aptly - I was expecting a stronger stance either one way or another, but it held firm somewhere down the middle. One could certainly argue that the film is too slow, at points, but I personally found it transfixing, especially towards the end, where the story has truly begun to unravel.

Cate Blanchett was incredible in her starring role. This has to go amongst her greatest ever performances, and comfortably so. Her ease, not just of movement, but of switching between languages without a seconds thought was immaculate. Blanchett learned to conduct, play piano and speak German for the role, and she did so magnificently. She felt like a true multilingual, multi-talented, and multifaceted individual. Watching her character unravel was a hugely fascinating and satisfying experience.

The supporting cast boasts three tremendous performances, albeit all with significantly less screentime than Blacnhett. Of the three, I thought that Noémie Merlant was the strongest, particularly due to her subtle yet emotive facial expressions. Meanwhile, both Nina Hoss and Sophie Kauer excelled in their scenes with Blanchett, exuding personality and depth in abundance.

Overall, I thoroughly enjoyed watching this psychological drama unfold. It might be a little slow for some viewers liking, but for those drawn in by its story and aesthetic, it's a real treat. I cannot emphasise enough how good the starring performance of Blanchett was as well. She conducted my eyes like a well-drilled orchestra from start to finish, and the arc for which she so effortlessly played out, was incredibly interesting to watch.