{"id":165288,"date":"2022-12-22T14:58:58","date_gmt":"2022-12-22T14:58:58","guid":{"rendered":"https:\/\/harchi90.com\/best-movies-of-2022-in-the-us-no-2-tar-movies\/"},"modified":"2022-12-22T14:58:58","modified_gmt":"2022-12-22T14:58:58","slug":"best-movies-of-2022-in-the-us-no-2-tar-movies","status":"publish","type":"post","link":"https:\/\/harchi90.com\/best-movies-of-2022-in-the-us-no-2-tar-movies\/","title":{"rendered":"Best movies of 2022 in the US: No 2 \u2013 T\u00e1r | movies"},"content":{"rendered":"
\n

B<\/span><\/span>efore her personal and professional downfall, Lydia T\u00e1r occupied a hallowed slice of the cultural consciousness \u2013 a virtuoso pianist and vaunted maestro, protege of the great Leonard Bernstein, the first female conductor of the Berlin philharmonic, an EGOT winner and author of an acclaimed memoir . The type of singular and status-signaling cultural figure who commands the room at a New Yorker talk and basks in the glow of trailblazing achievements while shrugging off the weight of feminism (or the term \u201cmaestra\u201d). Her success was, in her view, on artistic terms alone.<\/span><\/p>\n

T\u00e1r is a fictional character, played superlatively by a career-best Cate Blanchett, but Todd Field’s film so specifically captures the trappings of highbrow celebrity, and so sublimely embeds in her cocooned world, that some viewers have not unreasonably mistaken her for a real person . She is of our current world, and from the first moments we meet her \u2013 filmed through someone’s phone on a private jet, interviewed by the New Yorker’s Adam Gopnik, teaching a Juilliard masterclass \u2013 we inhabit hers: intense, exacting, narcissistic, fraying at the seams. (In a bold and fittingly pretentious move, the movie plays the entire credits montage first.)<\/p>\n

T\u00e1r is a feat of world-building, especially for one that so closely resembles our recent timeline. For every year that Field took away from film-making \u2013 this is his first feature since 2006’s Little Children \u2013 he seems to have come up with a topic that would derail a lesser film. Among them: the deferential excuses in the name of genius, cancel culture, digital realism and social media, #MeToo, the perspective of a perpetrator, the cloistered and rarefied world of elite classical music.<\/p>\n

\n
\n