In Todd Field’s Tár, we meet Lydia Tár, a revered composer-conductor heading up the Berlin Philharmonic, played by Cate Blanchett. Nina Hoss, as Lydia’s wife Sharon, is concertmaster and first chair violin, and together they navigate the politics of their musical life while parenting their daughter Petra. But Lydia, who is at the top of her game, and readying for her career-pinnacle live recording, begins to self-destruct, forming an obsessive attachment to Olga, a young cellist, just as a troubling past entanglement comes to light. The target of criticism from her students and a New York Post article, Lydia’s staff and Olga desert her. Then Sharon takes flight with Petra, and Lydia finally slides into the demise of both her personal and professional life. In conversation with Antonia Blyth, Blanchett and Hoss discuss the absence of objective truth, how change is built on open-hearted discussion, and the emergence of art from the raw, painful edge of experience.