[ Conversations about cancel culture so often frame things in
extreme terms for the sake of catching those Substack subscriptions
and Twitter likes; they tell people exactly how to be outraged. But
Field conducts discourse like a symphony. ]
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PORTSIDE CULTURE

CATE BLANCHETT IS BETTER THAN EVER IN CANCEL-CULTURE PARABLE
‘TÁR’  
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Rich Juzwiak
October 7, 2022
Jezebel
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_ Conversations about cancel culture so often frame things in extreme
terms for the sake of catching those Substack subscriptions and
Twitter likes; they tell people exactly how to be outraged. But Field
conducts discourse like a symphony. _

, Image: Focus Features

 

A

re movies back? Finally? Signs point to yes at this year’s New York
Film Festival, which is packed with buzzy films that may keep people
buzzing throughout the movie season. Below is a look at some of
what’s coming and what’s already here—both the
exquisite _Tár_ and the...less exquisite _Triangle of
Sadness_ are in theaters today.

_Tár_

TÁR - Official Trailer [HD] - In Select Theaters October 7

There are great performances, and then there’s the kind of
possession that Cate Blanchett evinces in _Tár_, Todd Field’s
first movie since 2006’s _Little Children_. Blanchett plays Lydia
Tár, the kind of superstar conductor who can command a crowd by
sitting down for a _New Yorker_ interview at Lincoln Center. Early
scenes establish Lydia’s possession and power—during a lecture at
Juilliard, she dresses down a Black student who says he can’t take
Bach’s music seriously as a result of the composer’s misogyny. The
quiet virtuosity displayed in the scene—probably around 20 minutes
captured all in one shot as the camera glides around the lecture hall
in an unhurried and tangent-prone, 180-degree turn—lets us know
we’re in the hands of masters.

For a good while, _Tár_ lets Lydia (and Blanchett) be the virtuoso
that she is as she prepares for the recording of a Mahler symphony in
Berlin, controlling the politics of her orchestra with the unsparing
and severe approach she takes to music. The movie resists condemning
or praising her arrogance and interpersonal brusqueness—that’s as
much a product of her high status as it is, perhaps, necessary for
maintaining it. (In the aforementioned interview scene, she brushes
away any suggestion that she’s struggled with gender bias in the
male-dominated field of conducting.) But then, the past comes back to
haunt Lydia. Field ensures we see her cancellation only from her
perspective, and she merely glimpses those who protest against her or
give her feedback. Does she deserve what happens to her? Are the
allegations of “grooming” tinged with homophobia? (Lydia’s
matter-of-fact queerness is rare not just in movies in general, but
specifically for a character of this age.) What exactly is she
entitled to?

Conversations about cancel culture so often frame things in extreme
terms for the sake of catching those Substack subscriptions and
Twitter likes; they tell people exactly how to be outraged. But Field
conducts discourse like a symphony. Blanchett’s tics-and-all
embodiment of Lydia, who leads her orchestra with her full body and
soul, is astounding. It’s just another day in the office for her,
but if she doesn’t get the Oscar for this, a robbery will have taken
place.

* Cancel culture
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