Tár

Much has been made of the politics of “Tár”, which, given the film’s stance on time’s ability to alter meaning, can only register as ironic. Its ruminations on identity, social politics, and people in power weighing in on such things aren’t as simple as broad declarations of intent, and while I’m not surprised morons have tried to approach “Tár” through a reductive lens, I’m afraid of the discourse to come when Angry Joe asks why “this musical no one has seen” gets a Best Picture nod over “Black Panther 2”. It’s intentionally haunting, too, on par with “In the Bedroom”.

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