A film not conceived, but for her, and which would not have existed without it. Protagonist: a sumptuous (again) Cate Blanchett.
The title in question is Tár directed by Todd Field, passed in competition at the Venice International Film Festival (in Italy we will have to wait until February 2023 to see it), and which narrates, in an imagined way, the figure of Lydia Tár, first female director and founder of the Accordion Conducting Fellowship, whose founding principle is to offer entrepreneurial opportunities and contracts working for young people who want to pursue their profession.
Yet another show of strength and acting for an artist, already a double Oscar winner (for Woody Allen’s Blue Jasmine and Martin Scorsese’s The Aviator), which today, contrary to what one might believe, is the emblem of antidivism, although in reality it emanates the atmosphere of the golden age of Hollywood. Never predictable in the choices, roles, it does not matter that they are dramatic, brilliant, chameleonic (as in I’m Not There, in the role of one of the Bob Dylans), in costume (wonderful Elizabeth I of England in Elizabeth and Elizabeth: The Golden Age) or fantasy, as Gadriel, in the Lord of the Rings trilogy. The fact is Cate Blanchett can light up the scene, whatever she touches.
In this last film we begin to know it, right at the beginning, in a long interview that starts the story, following it in the short span of three weeks, in which however we learn to know its merits and qualities, in view of an expected performance from alive from Mahler’s Fifth Symphony and the important presentation of one of his books.
Looking at it, it looks like the emblem of perfection. A living legend who directs, teaches, mentors, revolutionizes, but is also fragile, pungent, protective of the private sphere, in which Sharon (played by Nina Hoss) coexists with the first violin. She is now at the peak of success, consolidated among the greatest, until something (or someone?) Breaks the harmony, accusing her of favoring some, rather than others, by using her own position.
We do not disclose the rest. Even because Tar is a particularly long film journey (almost three hours) that knows how to introduce us not only to a language of movements, terms, references, big names, she knows how to move in a feminine way, also thanks to her assistant and a new student, full of talent.both ambitious to emerge and show off.
But what is surprising, however, is the solidity of a Blanchett capable of impersonating whoever she wants, raising the bar again
of acting. Performance in the smell of awards, and certainly a new nomination for the golden statuettes.CopyAMP code.
“There is something that haunts my character, his past, a person,” the Australian actress tells us. «On the other hand, you have therefore tried to reinvent yourself through music. It is a film about human nature and relationships, about how they can transform, evolve, our personality, about prejudices. The fact of sexual orientation takes a back seat, here the fascinating challenge was to see the different faces of things, and how from the podium, one can easily fall into the base. To go back to the end you need courage ». And the international Cate continues to have courage.
«When I entered the cinema and the theater, they told me ‘enjoy every moment, because you will be 5 years old’.
Things are changing, we have great men to guide us, but it is also important to relate to our brothers.
Let’s say I’m still taking off, but trust is essential if you want to take a certain path.
The hardest thing? Assisting my 14-year-old son. ‘