{"id":122379,"date":"2022-10-21T09:04:21","date_gmt":"2022-10-21T09:04:21","guid":{"rendered":"https:\/\/amplify.nabshow.com\/?post_type=articles&#038;p=122379"},"modified":"2026-03-05T04:20:51","modified_gmt":"2026-03-05T04:20:51","slug":"create-todd-field-tar","status":"publish","type":"articles","link":"https:\/\/jwolfepr.com\/dev\/articles\/create-todd-field-tar\/","title":{"rendered":"Control and Chaos: How Todd Field Tells the Story of \u201cTa\u0301r\u201d"},"content":{"rendered":"\n<div class=\"wp-block-columns article-content is-layout-flex wp-container-core-columns-is-layout-8f761849 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\">\n<figure class=\"wp-block-image size-full is-resized\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"386\" data-attachment-id=\"168617\" data-permalink=\"https:\/\/jwolfepr.com\/dev\/articles\/create-todd-field-tar\/writer-producer-director-todd-fields-first-film-in-16-years-tar-starring-cate-blanchett-as-lydia-tar-explores-the-cult-of-personality-power-imbalances-and-cancel-culture\/\" data-orig-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/unnamed-file.Tar.gif?fit=540%2C386&amp;ssl=1\" data-orig-size=\"540,386\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r,\u201d starring Cate Blanchett as Lydia T\u00e1r, explores the cult of personality, power imbalances and cancel culture. Cr: Focus Features\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r,\u201d starring Cate Blanchett as Lydia T\u00e1r, explores the cult of personality, power imbalances and cancel culture. Cr: Focus Features&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/unnamed-file.Tar.gif?fit=540%2C386&amp;ssl=1\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/unnamed-file.Tar.gif?resize=540%2C386&#038;ssl=1\" alt=\"\" class=\"wp-image-168617\" style=\"width:840px;height:auto\"\/><figcaption class=\"wp-element-caption\">Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r,\u201d starring Cate Blanchett as Lydia T\u00e1r, explores the cult of personality, power imbalances and cancel culture. Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">An exploration of the cult of personality, power imbalances and cancel culture, writer-producer-director Todd Field\u2019s <em>T\u00e1r<\/em> provides a strong argument as to why the Academy Awards should include an Oscar for Best Casting among its myriad filmmaking accolades.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>T\u00e1r<\/em> stars Cate Blanchett (<em>The Aviator<\/em>, <em>Blue Jasmine<\/em>) as Lydia T\u00e1r, the groundbreaking conductor of a major German orchestra about to undertake both a book launch and a much-anticipated live performance of Mahler\u2019s Fifth Symphony. Blanchett is joined by supporting cast members No\u00e9mie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong. <em>T\u00e1r<\/em> premiered at the Venice Film Festival to major acclaim, becoming an Oscar contender for both Blanchett and Hoss, who plays Sharin, Lydia\u2019s partner and co-parent to their six-year-old adopted daughter, Petra (Mila Bogojevic). Distributed by Focus Features, <em>T\u00e1r<\/em> is currently in theaters and is anticipated to arrive on streaming platforms in early 2023.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"T\u00c1R - Official Trailer [HD] - In Select Theaters October 7\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Na6gA1RehsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.theringer.com\/movies\/2022\/10\/6\/23389936\/tar-movie-review-cate-blanchett-todd-field\" target=\"_blank\" rel=\"noreferrer noopener\">Adam Nayman<\/a>, in his review for <em>The Ringer<\/em>, writes, \u201cPlaying a world-renowned conductor holding court during a glitzy onstage interview sponsored by <em>The New Yorker<\/em>, Cate Blanchett is almost self-parodically in her element in <em>T\u00e1r<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhich is, of course, the point,\u201d he continues, \u201cIf you\u2019re going to write a character who\u2019s famous for being preternaturally talented \u2014 a prot\u00e9g\u00e9 of Leonard Bernstein, with homes in New York and Berlin, a spot on Alec Baldwin\u2019s podcast, and an EGOT on her r\u00e9sum\u00e9 \u2014 it makes sense to cast a phenomenally accomplished actress known for her poise and graciousness. Every time Blanchett\u2019s Lydia T\u00e1r inhales to speak, on subjects ranging from musical composition to gender parity in the arts, she\u2019s breathing rarefied air; when she calls room service for water, it sounds like an acceptance speech. The barbed and topical hook of Todd Field\u2019s psychological thriller is whether the same electric brilliance that has elevated a person like Lydia so highly into the cultural firmament (and its adjoining tax bracket) is, or should be, enough to keep her there when she also secretly indulges in her more basic instincts.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.theringer.com\/movies\/2022\/10\/6\/23389936\/tar-movie-review-cate-blanchett-todd-field\" target=\"_blank\" rel=\"noreferrer noopener\">Meticulous Self-Destruction: The Cinematic Minefield of \u2018T\u00e1r\u2019 (The Ringer)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/014_74B-1B.SUB_.01.0985_JB02_C1_UR-LR.jpg?ssl=1\" alt=\"Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122377\"\/><figcaption class=\"wp-element-caption\">Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThis script was written for one artist, Cate Blanchett,\u201d Field underscored in his director\u2019s statement. \u201cHad she said no, the film would have never seen the light of day. Filmgoers, amateur and otherwise, will not be surprised by this. After all, she is a master supreme. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cEven so, while we were making the picture, the superhuman skill and verisimilitude of Cate was something truly astounding to behold. She raised all boats. The privilege of collaborating with an artist of this caliber is something impossible to adequately describe. In every possible way, this is Cate\u2019s film.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cinematographer Florian Hoffmeister, BSC employs long takes and intense close-ups to capture Blanchett\u2019s portrayal of a complex character who is toppled from her pedestal, <em>Variety<\/em>\u2019s <a href=\"https:\/\/variety.com\/2022\/artisans\/news\/tar-cinematography-cate-blanchett-florian-hoffmeister-1235401801\/\" target=\"_blank\" rel=\"noreferrer noopener\">Jazz Tangcay<\/a> recounts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Taking place in real time, the film\u2019s opening sequence at <em>The New Yorker<\/em> Festival was intended to place the audience directly inside the room, Hoffmeister tells Tangcay. \u201cAfter three minutes, you think you\u2019re sitting there watching this event,\u201d he says, adding that the idea was to avoid any camera movement. \u201cWe were just there. We didn\u2019t try to guide the audience in terms of importance by panning. We were just there and it was about finding the right angle.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Another long sequence that Hoffmeister identifies as crucial to setting the film\u2019s tone features Lydia teaching at Julliard. The script for that scene, he reveals, was nearly 10 pages long.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt\u2019s her walking around the room, addressing the students, teaching and talking about her passion. But she\u2019s also annoyed by this student and his political attitude towards music,\u201d he explains.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThis is her true being. It fell to me to show the two elements. It was about giving Cate the chance to deliver an amazing performance and modulate the camera,\u201d Hoffmeister continues. \u201cShe also becomes alive in that moment, because it\u2019s so important to her; this is about her passion and her making music. From, a visual point of view, we could unleash the camera after having constrained it for so long.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/011_40A-4.SUB_.01.0985_JB02_C1_R-LR.jpg?ssl=1\" alt=\"Nina Hoss stars as Sharon Goodnow and Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122376\"\/><figcaption class=\"wp-element-caption\">Nina Hoss stars as Sharon Goodnow and Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Following extensive testing to determine camera moves, Hoffmeister says the scene was achieved in one shot. To help make it an immersive experience, the DP and director worked closely on developing nuance. \u201cWe discussed whether we would do a close rendering of a face or a close-up and get closer to the person and film them. What are those differences?\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This collaboration with Field and Blanchett helped inform Hoffmeister\u2019s approach to lighting and the development of a roadmap.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cShe has two states of mind. One was about appearances such as what we see at the beginning of the film,\u201d he says. \u201cShe\u2019s catering to this narrative of what she thinks she is and what other people think she is.\u201d<\/p>\n\n\n\n<iframe loading=\"lazy\" allow=\"autoplay\" width=\"100%\" height=\"160\" src=\"https:\/\/www.iheart.com\/podcast\/256-the-close-up-30994871\/episode\/422-todd-field-cate-blanchett-102908032\/?embed=true\" frameborder=\"0\"><\/iframe>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/001_TAR_FP_00001_R-LR.jpg?ssl=1\" alt=\"Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122374\"\/><figcaption class=\"wp-element-caption\">Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The second state of mind is Lydia\u2019s private life away from the spotlight. \u201cThat\u2019s when she is anxious, and the audience can observe some of those feelings where the narrative is unprotected in those moments when she is by herself or with her lover,\u201d Hoffmeister says.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sequences inside the orchestra hall were shot on location, which presented the cinematographer with a number of practical constraints, including creating enough brightness for the orchestra members to read sheet music by. There was sufficient light available for wide shots, but for close-ups, \u201cit wasn\u2019t so pleasing,\u201d he said. \u201cSo, I went in and very subtly diffused the lights.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/variety.com\/2022\/artisans\/news\/tar-cinematography-cate-blanchett-florian-hoffmeister-1235401801\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u2018T\u00e1r\u2019: How the Cinematographer Pulled Off Opening Sequence and Navigated Long Shots (Variety)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\">Field, who wrote, produced and directed <em>T\u00e1r<\/em>, is a somewhat elusive figure as a filmmaker. <em>T\u00e1r<\/em> is his first film in 16 years, and in the time since his previous films, the five-time Academy Award-nominated <em><a href=\"https:\/\/youtu.be\/Ji09PcoGNjw\" target=\"_blank\" rel=\"noreferrer noopener\">In the Bedroom<\/a><\/em> (2001) and 2006\u2019s <em><a href=\"https:\/\/youtu.be\/bezyl7ZDp44\" target=\"_blank\" rel=\"noreferrer noopener\">Little Children<\/a><\/em>, which garnered three Oscar nods, Field has had the perhaps unenviable position of starting and stopping several high-profile film and television projects, as <a href=\"https:\/\/www.nytimes.com\/2022\/08\/30\/movies\/todd-field-tar.html\" target=\"_blank\" rel=\"noreferrer noopener\">Kyle Buchanan<\/a> details in <em>The New York Times<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAfter his first two movies both drew Oscar nominations, he was hailed by critics as one of the best new American directors, but all attempts to mount a third project were stymied,\u201d Buchanan says. \u201cHis film adaptations of the novels <em>Blood Meridian<\/em>, <em>The Creed of Violence<\/em> and <em>Beautiful Ruins<\/em> never made it into production, and though Field spent years working on a biopic of the deserting American soldier Bowe Bergdahl, co-writing a political thriller <a href=\"https:\/\/www.indiewire.com\/2012\/08\/todd-field-to-co-write-political-thriller-as-it-happens-with-joan-didion-107295\/\" target=\"_blank\" rel=\"noreferrer noopener\">with Joan Didion<\/a>, and scripting a huge Showtime series based on the Jonathan Franzen book <em>Purity<\/em>, those projects ultimately <a href=\"https:\/\/www.nytimes.com\/2018\/06\/26\/magazine\/jonathan-franzen-is-fine-with-all-of-it.html\" target=\"_blank\" rel=\"noreferrer noopener\">fell apart<\/a>, too.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Despite these many setbacks, Focus Features finally \u201ccalled his bluff,\u201d as Field recounts. \u201cFocus went to extraordinary lengths once they read the script to say, \u2018Yes, we want to make it. Let\u2019s go.\u2019 From the time the script was handed in to the time you saw it is less than two years, and in Hollywood, that\u2019s like light speed.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.nytimes.com\/2022\/08\/30\/movies\/todd-field-tar.html\" target=\"_blank\" rel=\"noreferrer noopener\">With \u2018T\u00e1r,\u2019 Todd Field Returns to Directing. Where Has He Been? (The New York Times)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/030_103D-1A.SUB_.01.0985_JB02_C1_UR-LR.jpg?ssl=1\" alt=\"Sophie Kauer stars as Olga Metkina in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122378\"\/><figcaption class=\"wp-element-caption\">Sophie Kauer stars as Olga Metkina in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Field began his career as an actor, appearing in numerous film and TV projects including Victor Nunez\u2019s <em><a href=\"https:\/\/youtu.be\/KlWMYCONL4I\" target=\"_blank\" rel=\"noreferrer noopener\">Ruby in Paradise<\/a><\/em> (1993), Nicole Holofcener\u2019s <em><a href=\"https:\/\/www.tcm.com\/video\/1134756\/walking-and-talking-1996-original-trailer\" target=\"_blank\" rel=\"noreferrer noopener\">Walking and Talking<\/a><\/em> (1996), and Stanley Kubrick\u2019s <em><a href=\"https:\/\/youtu.be\/ZsW03brKIx4\" target=\"_blank\" rel=\"noreferrer noopener\">Eyes Wide Shut<\/a><\/em> (1999), before entering film school at the AFI Conservatory. He described his journey from in front of the camera to writing and directing his own films in an interview with <a href=\"https:\/\/theplaylist.net\/tar-todd-field-talks-working-with-cate-blanchett-lost-projects-being-ok-with-never-directing-a-feature-again-interview-20221005\/\" target=\"_blank\" rel=\"noreferrer noopener\">Rodrigo Perez<\/a> for <em>The Playlist<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cFrom the beginning, I wanted to make my own films,\u201d he said. \u201cLike I\u2019m a highly technical director and the way that some people talk, people say, \u2018Well, you were an actor, so you\u2019re an actor\u2019s director.\u2019 Or, \u2018You\u2019re a writer because you write your own stuff.\u2019 OK, sure, I wrote my own stuff because it was cheap. I couldn\u2019t afford anyone else. But the truth is, the larger part of why I was interested in doing this has to do with cinema, and the films that I love, and photography and, how do we see things and what my point of view is. So, I don\u2019t know if any of that has to do with anything in terms of like, why I made a film in 16 years or whatever, but I think that sometimes it\u2019s jack of all trades, master of none kind of thing.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/theplaylist.net\/tar-todd-field-talks-working-with-cate-blanchett-lost-projects-being-ok-with-never-directing-a-feature-again-interview-20221005\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u2018T\u00c1R\u2019: Todd Field Talks Working With Cate Blanchett, Lost Projects &amp; Being OK With Never Directing A Feature Again (The Playlist)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/063_Noemie-Merlant-as-Francesca-Lentini-in-TAR_Image-Two-LR.jpg?ssl=1\" alt=\"No\u00e9mie Merlant stars as Francesca Lentini in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122371\"\/><figcaption class=\"wp-element-caption\">No\u00e9mie Merlant stars as Francesca Lentini in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In his review of the film for <em>The Atlantic<\/em>, culture writer <a href=\"https:\/\/www.theatlantic.com\/culture\/archive\/2022\/10\/tar-movie-review-cate-blanchett\/671665\/\" target=\"_blank\" rel=\"noreferrer noopener\">David Sims<\/a> says <em>T\u00e1r<\/em> is Cate Blanchett\u2019s best performance of her career, breaking down an icon\u2019s fall from grace to its most elemental form.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cT\u00e1r\u2019s \u2018cancellation\u2019 (which is simply the easiest way to describe what happens to her reputation in the film) has its specifics, but Field seems most interested in the elemental process of watching someone with such power and poise veer out of control,\u201d he writes. \u201cThe unraveling of T\u00e1r begins with just a few whispers before spiraling in unpredictable directions. Field isn\u2019t exactly rooting for her downfall, and neither was I; instead, he\u2019s depicting the way such scandals inspire rubbernecking from all walks of life.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/053_195-2.SUB_.03.0985_JB01_C1_UR_R-LR.jpg?ssl=1\" alt=\"Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122370\"\/><figcaption class=\"wp-element-caption\">Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Sims, noting that Field played the \u201cfurtive piano player Nick Nightingale\u201d in <em>Eyes Wide Shut<\/em> and had close ties with Kubrick, says \u201c<em>T\u00e1r <\/em>is worthy of comparison to that great master\u2019s work. Every visual composition is meticulously arranged, and every surreal twist of imagery feels nuanced and earned.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cBut most important, the world around <em>T\u00e1r<\/em> seems real and tangible, so when it slips into chaos, the viewer becomes as overwhelmed as the protagonist. Field understands that for the stakes of this insular story of one fictional celebrity\u2019s reputation to matter, T\u00e1r\u2019s manifold scandals can\u2019t be easy to evaluate. She\u2019s not a clear-cut monster or a martyr being railroaded by a system of prudes. Blanchett and Field make her as complicated as the art she loves and respects, even as love and respect become the emotions she struggles most to wield and receive.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.theatlantic.com\/culture\/archive\/2022\/10\/tar-movie-review-cate-blanchett\/671665\/\" target=\"_blank\" rel=\"noreferrer noopener\">T\u00e1r Takes on the Devastating Spectacle of \u2018Cancellation\u2019 (The Atlantic)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/040_64D-3.SUB_.01.0985_JB01_C1_R-LR.jpg?ssl=1\" alt=\"Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122369\"\/><figcaption class=\"wp-element-caption\">Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Variety<\/em> chief film critic <a href=\"https:\/\/variety.com\/2022\/film\/reviews\/tar-review-cate-blanchett-todd-field-1235356652\/\" target=\"_blank\" rel=\"noreferrer noopener\">Owen Gleiberman<\/a> says <em>T\u00e1r<\/em> takes Field to an entirely new level as a filmmaker. \u201cThe movie is breathtaking \u2014 in its drama, its high-crafted innovation, its vision,\u201d he lauds. \u201cIt\u2019s a ruthless but intimate tale of art, lust, obsession, and power. It\u2019s set in the contemporary classical-music world, and if that sounds a bit high-toned (it is, in a good way), the movie leads us through that world in a manner that\u2019s so rigorously precise and authentic and detailed that it generates the immersion of a thriller.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Gleiberman also appreciates Hoffmeister\u2019s camera work, noting that <em>T\u00e1r<\/em> \u201clooks like a documentary directed by Stanley Kubrick\u2026. The compositions are naturalistic in an imposing, ice-cool way, and what they express is the casual calculation with which Lydia monitors every facet of her existence.\u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/variety.com\/2022\/film\/reviews\/tar-review-cate-blanchett-todd-field-1235356652\/\" target=\"_blank\" rel=\"noreferrer noopener\">\u2018T\u00e1r\u2019 Review: Cate Blanchett Acts With Ferocious Force in Todd Field\u2019s Masterful Drama About a Celebrity Conductor (Variety)<\/a><\/h3>\n\n\n\n<figure class=\"wp-block-image size-full\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/038_166A-3_PUC.SUB_.02.09851_C1_UR-LR.jpg?ssl=1\" alt=\"Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features\" class=\"wp-image-122368\"\/><figcaption class=\"wp-element-caption\">Cate Blanchett stars as Lydia T\u00e1r in director Todd Field\u2019s \u201cT\u00e1r.\u201d Cr: Focus Features<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Filmmaker Magazine<\/em>\u2019s <a href=\"https:\/\/filmmakermagazine.com\/116215-venice-film-festival-2022-review-todd-field-tar\/#.Yzu-zOzMLFo\" target=\"_blank\" rel=\"noreferrer noopener\">Vadim Rizov<\/a> argues, \u201cIf <em>T\u00e1r<\/em> is an anti-cancel culture\/#MeToo film \u2014 and I believe that it ultimately is, no matter how much situational ambiguity is deliberately baked in to cover its tracks) \u2014 it comes by the contextual specifics of its test case honestly.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But Rizov takes exception with the cinematography, noting that \u201cTechnically, Field errs on the side of master shot simplicity, moving the camera rarely and always with purpose; it\u2019s not a super-formalist film, instead a calmly competent one.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">He describes the first hour of the film as a \u201cbarrage of back-to-back dialogues\u201d that is \u201cimpressively airless,\u201d before veering off into nearly supernatural and\/or horror territory with \u201cdoom-y dollies into an ominously ticking metronome, an unseen woman screaming in a forest.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rizov also picks up on an important cinematic reference Field employs: \u201cRehearsing Mahler gives the film an excuse to namecheck Visconti, a connotational reminder of his use of the composer\u2019s fifth symphony\u2019s \u201cAdagietto\u201d in <em>Death in Venice<\/em> \u2014 this isn\u2019t nearly as self-consciously or successfully operatic, but it\u2019s a nice aspirational reference point. And, since <em>Death in Venice<\/em> focuses on what we could label an \u2018age-inappropriate\u2019 relationship, its invocation also echoes <em>T\u00e1r<\/em>\u2019s thornier larger question, which is basically yet another round of \u2018Can you separate the artist from the art, and should you?\u2019 \u201d<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/filmmakermagazine.com\/116215-venice-film-festival-2022-review-todd-field-tar\/#.Yzu-zOzMLFo\" target=\"_blank\" rel=\"noreferrer noopener\">Venice Film Festival 2022: T\u00c1R (Filmmaker Magazine)<\/a><\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The New Yorker<\/em> film critic <a href=\"https:\/\/www.newyorker.com\/magazine\/2022\/10\/10\/cate-blanchett-is-imperious-and-incandescent-in-tar\" target=\"_blank\" rel=\"noreferrer noopener\">Anthony Lane<\/a> also weighs in, praising Blanchett for her \u201cimperious and incandescent\u201d performance as Lydia T\u00e1r.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWhen we first meet Lydia, she\u2019s about to be interviewed onstage, in New York, by my colleague Adam Gopnik, who is persuasively played, in an audacious stroke of casting, by himself,\u201d Lane quips with his characteristic wit. Seriously, isn\u2019t it high time for the Motion Picture Academy to begin recognizing casting directors for their craft?<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"T\u00c1R - &quot;You Cannot Start Without Me&quot; Official Clip - Now In Select Theaters, Everywhere October 28\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/nknRDCxrl54?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Lane neatly summarizes Lydia\u2019s reckoning:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong><em>\u201cThrough glimpses of e-mails, passing chatter, and scraps of dreams, we learn of a young trainee conductor who was fixated on Lydia (or was it vice versa?), and whose career Lydia has since attempted to block. There are hints of a pattern \u2014 of other young women who have slipped under Lydia\u2019s spell and suffered accordingly. Her personal assistant, Francesca (No\u00e9mie Merlant), is a guarded and dedicated soul, who receives scant reward for her devotions; was she, too, once an object of Lydia\u2019s interest? Rumors abound, a legal deposition is required, and Lydia is T\u00e1rred and feathered on social media. When she travels to New York, in the company of a Russian cellist, Olga (Sophie Kauer), we see a snap of them, on Twitter, plus the tagline \u2018T\u00c1R\u2019s fresh meat.\u2019 <\/em>\u201d<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">READ MORE: <a href=\"https:\/\/www.newyorker.com\/magazine\/2022\/10\/10\/cate-blanchett-is-imperious-and-incandescent-in-tar\" target=\"_blank\" rel=\"noreferrer noopener\">Cate Blanchett Is Imperious and Incandescent in \u201cT\u00e1r\u201d (The New Yorker)<\/a><\/h3>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<h2 class=\"wp-block-heading has-black-color has-luminous-vivid-amber-background-color has-text-color has-background has-medium-font-size\" style=\"font-style:normal;font-weight:900;text-transform:capitalize\">WATCH THIS: Todd Field, Cate Blanchett, Nina Hoss &amp; Hildur Guonad\u00f3ttir on T\u00c1R | NYFF60<\/h2>\n\n\n\n<p class=\"wp-block-paragraph\" style=\"font-size:16px\">Watch director Todd Field, cast members Cate Blanchett, Nina Hoss, and Sophie Kauer, and composer Hildur Guonad\u00f3ttir discuss <em>T\u00e1r<\/em> at the 60th New York Film Festival in a conversation moderated by NYFF artistic director Dennis Lim:<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Todd Field, Cate Blanchett, Nina Hoss &amp; Hildur Guonad\u00f3ttir on T\u00c1R | NYFF60\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Xv7ObjdlFeE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-luminous-vivid-amber-color has-css-opacity has-luminous-vivid-amber-background-color has-background is-style-default\"\/>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" id=\"dragon\" class=\"wp-block-spacer\"><\/div>\n<\/div><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"T\u00c1R - October 7\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/6kc2Seh8nKk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\">Next, Listen to This:<\/h2>\n\n\n\n<iframe loading=\"lazy\" src=\"https:\/\/www.npr.org\/player\/embed\/1159300935\/1160416778\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\"><\/iframe>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r\u201d explores the cult of personality, power imbalances and cancel culture.<\/p>\n","protected":false},"author":2,"featured_media":168617,"menu_order":0,"template":"","meta":{"_acf_changed":false,"_breakdance_hide_in_design_set":false,"_breakdance_tags":""},"categories":[248],"class_list":["post-122379","articles","type-articles","status-publish","has-post-thumbnail","hentry","category-amplify"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Control and Chaos: How Todd Field Tells the Story of \u201cTa\u0301r\u201d | Jennifer Wolfe<\/title>\n<meta name=\"description\" content=\"Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r\u201d explores the cult of personality, power imbalances and cancel culture.\" \/>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Control and Chaos: How Todd Field Tells the Story of \u201cTa\u0301r\u201d | Jennifer Wolfe\" \/>\n<meta property=\"og:description\" content=\"Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r\u201d explores the cult of personality, power imbalances and cancel culture.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/jwolfepr.com\/dev\/articles\/create-todd-field-tar\/\" \/>\n<meta property=\"og:site_name\" content=\"Jennifer Wolfe\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-05T04:20:51+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/jwolfepr.com\/dev\/wp-content\/uploads\/2024\/09\/unnamed-file.Tar.gif\" \/>\n\t<meta property=\"og:image:width\" content=\"540\" \/>\n\t<meta property=\"og:image:height\" content=\"386\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/gif\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@WordsWolfe\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/\",\"url\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/\",\"name\":\"Control and Chaos: How Todd Field Tells the Story of \u201cTa\u0301r\u201d | Jennifer Wolfe\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/i0.wp.com\\\/jwolfepr.com\\\/dev\\\/wp-content\\\/uploads\\\/2024\\\/09\\\/unnamed-file.Tar.gif?fit=540%2C386&ssl=1\",\"datePublished\":\"2022-10-21T09:04:21+00:00\",\"dateModified\":\"2026-03-05T04:20:51+00:00\",\"description\":\"Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r\u201d explores the cult of personality, power imbalances and cancel culture.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/jwolfepr.com\\\/dev\\\/articles\\\/create-todd-field-tar\\\/#primaryimage\",\"url\":\"https:\\\/\\\/i0.wp.com\\\/jwolfepr.com\\\/dev\\\/wp-content\\\/uploads\\\/2024\\\/09\\\/unnamed-file.Tar.gif?fit=540%2C386&ssl=1\",\"contentUrl\":\"https:\\\/\\\/i0.wp.com\\\/jwolfepr.com\\\/dev\\\/wp-content\\\/uploads\\\/2024\\\/09\\\/unnamed-file.Tar.gif?fit=540%2C386&ssl=1\",\"width\":540,\"height\":386,\"caption\":\"Writer-producer-director Todd Field\u2019s first film in 16 years, \u201cT\u00e1r,\u201d starring Cate Blanchett as Lydia T\u00e1r, explores the cult of personality, power imbalances and cancel culture. 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