![]() The spaces Lydia occupies are crisply contemporary architectures. “Tár,” which opens in theaters Friday, is situated in a very real high-art, big-media world. Yet an introductory, fleeting moment of a phone camera pointed at an asleep Lydia, with mocking texts filling the screen, presages that the conductor’s rarified perch may be in jeopardy. Her listed accomplishments - conductor of the Berlin Philharmonic, protégée of Leonard Bernstein, a glass ceiling-shattering figure of the classical music world, an EGOT-winner with a new memoir, “Tár on “Tár,” out - are as impressive as her regal, polished stage presence. Just after the opening credits roll, Lydia is there on a gleaming New York stage before a rapt audience being interviewed at length, and with almost oppressive accuracy for such fawning exchanges, by The New Yorker’s Adam Gopnik (as himself). ![]() The way Blanchett says this, with her arms swirling and shaping the air like clay, makes you believe, yes, she really can stop time.īut in “Tár” - a movie that likewise measures and sculpts moments with intense precision - time may be catching up with Lydia. Lydia, a world-renown conductor, is explaining her art as more than waving a baton around - not a mere “human metronome” - but rather an almost god-like ability to mold and contort time. ![]() “Time is the thing,” says Lydia Tár (Cate Blanchett) in Todd Fields’ “Tár.” ![]()
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