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Few scenes from writer-director Todd Field’s provocative masterpiece Tár have gotten audiences talking — and sometimes hotly debating — more than the first-act showdown between Cate Blanchett’s brilliant conductor, Lydia Tár, and Max, a student in her Juilliard master class. Shot in one white-knuckle take, the ten-minute sequence begins elegantly enough, with Lydia commanding the space in her typical way, a handful of impressionable music students attuned to her every utterance.
But then she hones in on Max — an affable young student played by Zethphan Smith-Gneist — who, it turns out, cares not for the music of Johann Sebastian Bach. “As a Bipoc pangender,” Max offers, “I have difficulty connecting with Bach — and wasn’t he a misogynist anyway?” Thus begins a highly charged intergenerational face-off. “If you want to dance the mask,” Tár growls, “you must service the composer. You’ve got to sublimate yourself.
Few scenes from writer-director Todd Field’s provocative masterpiece Tár have gotten audiences talking — and sometimes hotly debating — more than the first-act showdown between Cate Blanchett’s brilliant conductor, Lydia Tár, and Max, a student in her Juilliard master class. Shot in one white-knuckle take, the ten-minute sequence begins elegantly enough, with Lydia commanding the space in her typical way, a handful of impressionable music students attuned to her every utterance.
But then she hones in on Max — an affable young student played by Zethphan Smith-Gneist — who, it turns out, cares not for the music of Johann Sebastian Bach. “As a Bipoc pangender,” Max offers, “I have difficulty connecting with Bach — and wasn’t he a misogynist anyway?” Thus begins a highly charged intergenerational face-off. “If you want to dance the mask,” Tár growls, “you must service the composer. You’ve got to sublimate yourself.
- 10/24/2022
- by Seth Abramovitch
- The Hollywood Reporter - Movie News
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