While the Emmys drew mixed reviews, the film festivals closed to strong applause this week, not only for their movies (we’d forgotten some) but for their star turnout (forgot a few of them, too).
01.09.2022 - 18:43 / thewrap.com
post-post-MeToo character study that premiered on Thursday at the Venice Film Festival – should be heralded for offering a neat corollary to Chekhov’s Gun, a theatrical theory that states that if you introduce a gun in Act 1, you’d better fire it by Act 3. Call this version Gopnik’s Speech.
Because no film could open, as “Tár” does, with such a long and portentous introduction to the main character (She’s at the top of her game! She’s on a nickname basis with Leonard Bernstein! She’s a bloody EGOT!), delivered by the New Yorker’s Adam Gopnik playing himself, without clearly signaling its intent: for the two-and-a-half hours that follow, our poor protagonist will have nowhere to go but down. And down she will go, falling from grace, and from the highest perch of the highbrow scene (see that fawning introduction) over the course of a tightly wound and impeccably crafted showcase for Cate Blanchett at her peak. Only as it careens towards an inevitable destination, “Tár” works more as psychological portrait than narrative freighter, putting you in the room with (and in the head of) a professional control freak as her life spirals out of control, all while observing the fallout with eerie calm.
Tempests are always calmest from the eye of the storm. Lydia Tár, as we quickly learn, is a conductor, perhaps the most acclaimed one alive, and that makes her a despot.
But then, how else can she be? What is a conductor if not a manipulator, an absolute authority playing the musicians who in turn play their instruments, all to service the sublime? For this capo di tutti capi, there is no offstage: Her life is her work, her work is her life, her wife is her co-worker and those co-workers answer to Lydia. That wife would be Sharon
.While the Emmys drew mixed reviews, the film festivals closed to strong applause this week, not only for their movies (we’d forgotten some) but for their star turnout (forgot a few of them, too).
Cate Blanchett steps out onto the beach in her red palm tree outfit and red sunglasses on Wednesday (September 14) in Venice, Italy.
Every film directed by Pedro Almodóvar is a special event. He doesn’t seem to be capable of turning in something bland.
The closing ceremony for the 2022 Venice Film Festival just took place and the awards winners have been revealed.
This week’s 20 Questions On Deadline guest is Rachel Bloom.
TELLURIDE – Venice may be enraptured in gossip-y drama over a film no one will be talking about two months from now (and, clearly, a very frustrating ticketing system), but the 49th edition of the Telluride Film Festival was where the 2023 Oscar season truly kicked off. The annual Colorado set festival certainly has its fair share of world premieres and curated Venice and Cannes titles, but that’s only one reason it has solidified its reputation as an awards season staple.
Clayton Davis “Tár” is a musical, but not in the way you might think. Set to a rhythmic beat of classical orchestration, writer and director Todd Field triumphantly returns to the director’s chair some 16 years after “Little Children” (2006) and 21 years after his debut “In the Bedroom” (2001). In the process, Field proves the third time is the charm and “Tár,” which screened at Venice and Telluride, has emerged as a major Oscar contender. At the forefront of this epic drama is another fiery and near perfect turn from Cate Blanchett, who is poised to earn her eighth acting Oscar nomination and could even nab a potential third statuette.
“Don’t Worry Darling” is a mixture of “The Stepford Wives” and “Get Out” is both accurate and deeply misleading. It’s accurate because Olivia Wilde’s satiric and somewhat frantic psychological thriller does borrow from films like “Stepford,” where an idealized community is one in which the women are dolls designed for male satisfaction, and “Get Out,” which uses horror trappings to grapple with timely issues of power and privilege.
EXCLUSIVE: Filmmaker Luca Guadagnino (Call Me by Your Name) hopes to revive his dream project to make a mammoth 10-episode television adaptation of Evelyn Waugh’s Brideshead Revisited.
th Century, haunted by unspeakable grief under the recent shadow of the Great Famine. As if to tell a bedtime story, a voiceover softly requests us to consider the complete devotion in which the dwellers of “The Wonder” believe in their own truths.
Jazz Tangcay Artisans Editor Hot off of its Venice Film Festival premiere, a concept album for Cate Blanchett’s “Tár” is set to be released on Oct. 21. The film bowed to rave reviews and a six-minute standing ovation. The Focus Features film, releasing Oct. 7, stars Blanchett as the fictional Lydia Tár, a globally renowned, gay and sometimes tyrannical conductor of a German orchestra, who finds herself in the crosshairs of a perilous #MeToo scandal. The film is director Todd Field’s first movie in 16 years, following the critically acclaimed “Little Children” (2006) and his breakout “In the Bedroom” (2001).
There’s no shortage of star power on the Lido this year. The 79th Venice Film Festival boasts such boldface names as Timothée Chalamet — along with his fellow the Bones And All castmates and filmmaker Luca Guadagnino — Cate Blanchett, Alejandro G. Iñárritu, Adam Driver and dozens more.
Film premiere and headlines spilling from a trio of fests in full swing (Venice), just starting (Telluride) and queued up (Toronto) have indie exhibitors and distributors the most hopeful since Covid hit that a stream of new films could fire up the arthouse market.
By Morfydd Clark has an exciting role as the armor-wearing, ice wall-climbing protagonist of Rings of Power, Amazon's that's been lauded as the most expensive television series ever made. But off screen, the 33-year-old actor has a soothing voice and a calming demeanor—remarkable considering the making of the epic new series, out now, tested the Welsh actor in every sense of the word.
Cate Blanchett steps out in two chic looks at the 2022 Venice Film Festival.
Venice Film Festival officially kicked off the fall Oscar race on Thursday afternoon with Todd Field’s “Tár,” a drama starring Cate Blanchett as a famous composer embroiled in a public scandal. The film was showered with an ecstatic six-minute standing ovation as the crowds at the Sala Grande Theatre kept chanting “Bravo!“ even surprising Blanchett at times.As Venice chief Alberto Barbera took her hand, Blanchett bowed — but the clapping went on. When the applause finally ended, a misty-eyed Blanchett turned to someone on her team and said: “Let’s get a drink.”Surely, Blanchett’s work in “Tár” will be one of the most toasted performances of Oscar season. The rave reviews for the film all but guarantee the actor, who has two Academy Awards acting wins, will land her eight Oscar acting nomination this winter.
Todd Field’s Tár clearly struck a chord with the world premiere audience inside the Venice Film Festival’s Sala Grande tonight. The movie was given a standing ovation of more than six minutes, which was only halted when the film team filtered out.
Clayton Davis Telluride Film Festival’s official 2022 lineup has been announced, revealing world premieres of Sam Mendes’ “Empire of Light,” Sarah Polley’s “Women Talking,” Laure de Clermont-Tonnerre’s “Lady Chatterley’s Lover” and Sebastián Lelio’s “The Wonder.” In its 49th year, the festival will pay tribute to two-time Oscar-winner Cate Blanchett, whose new film “TÁR,” from director Todd Field, will debut stateside after premiering at the Venice Film Festival. In addition, the festival will also tribute Academy Award nominee Polley (adapted screenplay for 2006’s “Away from Her”) and acclaimed documentarian Marc Cousins, who has two films dropping at the fest. One is “My Name Is Alfred Hitchcock,” which is based on a fictional monologue between Cousins and the master of suspense. The other is “The March on Rome,” depicting the ascent of fascism in Europe during the 1930s.
Owen Gleiberman Chief Film Critic “Tár,” written and directed by Todd Field, tells the story of a world-famous symphony orchestra conductor played by Cate Blanchett, and let me say right up front: It’s the work of a master filmmaker. That’s not a total surprise. Field has made only two previous films, and the first of them, the domestic revenge drama “In the Bedroom” (2001), was languorous and lacerating — a small, compact indie-world explosion. His second feature, “Little Children” (2006), was, in my opinion, a misfire, though his talent was all over it. But “Tár,” the first film he has made in 16 years, takes Todd Field to a new level. The movie is breathtaking — in its drama, its high-crafted innovation, its vision. It’s a ruthless but intimate tale of art, lust, obsession, and power. It’s 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’s so rigorously precise and authentic and detailed that it generates the immersion of a thriller. The characters in “Tár” feel as real as life. (They’re acted to richly drawn perfection down to the smallest role.) You believe, at every moment, in the reality you’re seeing, and it’s extraordinary how that raises the stakes.