Tár is a masterpiece, the most subtle and complex unpacking of #MeToo and the dynamics of elite power I've seen. Field channels both Kubrick and Tarkovsky in a film that's loaded with subterranean depth but deceptively simple on the surface. There are building blocks I didn't notice until the 2nd viewing, and some I didn't see until the …
Tár is a masterpiece, the most subtle and complex unpacking of #MeToo and the dynamics of elite power I've seen. Field channels both Kubrick and Tarkovsky in a film that's loaded with subterranean depth but deceptively simple on the surface. There are building blocks I didn't notice until the 2nd viewing, and some I didn't see until the 3rd. And I just read another analysis (from Dan Kois in Slate) that pointed out a few things I *still* hadn't caught. Tár is a work of autopoeisis, a deep dive into the experiential field of extreme high culture and the world around it. It's definitely not everyone's love language; the tone is extremely chilly and the pacing on the surface seems slow. But there's a LOT going on in every shot.
Tár is a masterpiece, the most subtle and complex unpacking of #MeToo and the dynamics of elite power I've seen. Field channels both Kubrick and Tarkovsky in a film that's loaded with subterranean depth but deceptively simple on the surface. There are building blocks I didn't notice until the 2nd viewing, and some I didn't see until the 3rd. And I just read another analysis (from Dan Kois in Slate) that pointed out a few things I *still* hadn't caught. Tár is a work of autopoeisis, a deep dive into the experiential field of extreme high culture and the world around it. It's definitely not everyone's love language; the tone is extremely chilly and the pacing on the surface seems slow. But there's a LOT going on in every shot.