By doudou6 
“Tár,” is this year’s Oscar-contending blockbuster starring Cate Blanchett, who also won Best Actress at the 79th Venice Film Festival for her outstanding performance.
However, amidst the anticipation, one can’t help but wonder, who exactly is Tár?
Moreover, she has achieved EGOT status by winning Grammy Awards (Grammy), Academy Awards (Oscar), Tony Awards (Tony), and Emmy Awards (Emmy), making her famous beyond just classical music circles. This multifaceted talent allows her to effortlessly take on multiple roles: besides being a conductor, she’s also a teacher, writer, composer, philanthropist—all star-level titles due to her legion of fans enamored with her talent. However, despite these striking similarities in basic information, Lydia Tár from the movie is entirely fictional. In reality—within the film—her name is Linda Tarr; Bernstein truly was her mentor; and she indeed became Berlin Philharmonic Orchestra’s first female conductor. Some true anecdotes about Linda Tarr are included in the film—like conducting at Obama’s second inauguration ceremony—and in 2019 many were puzzled by Tár’s preference for “Once Upon a Time in Hollywood” over “Portrait of a Lady on Fire.”
Since movie character “Tár” diverges significantly from any real-life counterpart and remains purely fictionalized—we can step back from critical lenses to explore its symbolic significance.
In truth—actions taken by Tár within academia/artistic realms aren’t rare occurrences; highly esteemed figures often escape repercussions for personal moral failings within their industries/circles. Even recently—scandals broke about predators within art examination institutions sexually assaulting/seducing female examinees.
From onset—Tár commands an unassailable presence during interviews attributing musical successes solely unto herself while distancing from identity politics bypassing gender/sexuality discussions altogether yet remains inherently confident albeit subtly evasive/floating at peak career moments.
Unified under “art’s supremacy”—her baton channels legacy wealth built by white male predecessors; male peers covet status/creativity while benefiting from associative gains thus flattering gestures liberate marginalization constraints imposed previously upon lesbian identity confines freeing new existential questions: Who becomes post-discrimination/exclusion liberation?
During Juilliard guest lecture—a young student rejects Bach outright prompting immediate public humiliation via self-righteous critique encapsulated into racially-tinged footage ultimately pivotal incriminating evidence dismantling career trajectory yet scene doesn’t wholly depict disgrace rather directorial probe into artistic essence queries instead.
Furthermore—a perpetually collapsing young female musician seeks connection repeatedly rebuffed coldly by indifferent Tár.