SundayFilmReview: TÁR

TÁR is a slow-cooking cinematic masterpiece, a literary work that unfolds on the screen with such honesty and rawness that it transcends the boundaries of traditional filmmaking. It feels less like a movie and more like an ultra-high-definition hidden camera show, immersing us in the elitist world of classical music and composition through the eyes of its protagonist.

Though a fictional tale, the film's foundation is built on meticulous research. Combined with Cate Blanchett's masterful performance and dedication to her craft, it feels like watching a documentary of someone's life. The scenes flow in perfect harmony, seamlessly synced together despite being shot at different times. The director orchestrates a rhythm and beat that culminates in a breathtaking climax, leaving viewers mesmerized and hanging on the edge of a cinematic cliff.

At the start, it's impossible not to admire the main character, Lydia. Her wit, immense intelligence, talent, and dedication to her lifelong craft of composition and music is captivating. In one scene, she effortlessly plays Bach in various forms to convey different emotion and concept of time. But as the movie progresses, the façade falls, revealing deeply disturbing flaws.

Lydia's unhinged narcissism, selfishness, misuse of power, and lack of basic human decency remind us of how easily wealth and fame can corrupt individuals. A poignant moment is when Lydia, on a recommendation, visits a massage parlor where ten or so women sit waiting for clients, reminiscent of an old-school house of pleasure. The sight disgusts her so much that she runs out and vomits, a powerful commentary on her own moral corruption.