Anyone else see this?

I ask because there's zero chance anybody I know irl would have seen this?

Any good takes?

I'm still trying to figure out my take. Bad part is it was too...boring...to watch twice. Good but...slow.

Anyway this entire world of cultured urban elite professional is so entirely alien that it was kind of awkward to watch. I don't even own a suit, I will never see a prestigious orchestra anywhere but YouTube. Even if I like classical music, which I do, these trappings make it clear it's not FOR ME.

the way these NPR rich libs are so just elite about something as raw as music. The scene where she had to help the disabled woman back in her chair and immediately went home to wash herself. They might work in passion for a profession but these people are sooo sterile.

It's attitude on cancel culture is something I'm still trying to work out. Lydia lecturing the zoomer student looked like something theys post on redscarepod. Then they slowly revealed that she was a groomer. I liked that. You wouldn't automatically put up your defense mechanisms, they convinced you she was a villain

  • thethirdgracchi [he/him, they/them]
    ·
    2 years ago

    I think I agree in that it felt like Field was trying to make me have sympathy for Tar on some level, but in the context of how disgusting and pathetic she is it didn't land for me in the slightest and I just viewed her like Haneke views his characters anyway. I think you can read it as a Haneke-like film because, despite the director's best efforst, it still comes across that way.

    • RonJonGuaido [none/use name]
      ·
      2 years ago

      well, then, if you make Tar, it will read similar to haneke.

      but haneke's interest is a scathing critique about the bourgeoise (i'd agree with you on that), all the way through. and though field notices and presents the (evil)constitutive power of the elite/hierarchy (it creates Tar/destroys Lydia, and those around her), he's more compassionate, more interested in opening a space for discussion/thinking (rather than polemic), and, on a substantive level, finds something valuable in high culture. (obviously the ending is a big goof on lydia: she's reduced conducting video game scores (and she can't even dictate the tempo) -- she's been flattened and humiliated. and yet, she is someone with great integrity (in at least a narrow way) and great passion for music-- she focuses on that score as if it were mahler. and she's presented as the alternative to our current cultural horizon: dorks cosplaying monster hunter.)

      you certainly can have your feeling on the characters, but i couldn't imagine watching lydia in her childhood room, watching the bernstein tapes, realizing that her purported tutelage from bernstein, which she previously had just droned on and on about, is just those public television productions, realizing that she's a fraud as much as any fucking annoying zoomer, that everything is self-made narrative/fiction, that she had to alienate herself from her childhood memories wherein she fell in love with music, i couldn't imagine watching that not feeling sympathy for her.

      • Apolonio
        ·
        11 months ago

        deleted by creator

      • thethirdgracchi [he/him, they/them]
        ·
        2 years ago

        Yeah see that whole scene did not land for me even though I totally get what you're saying. Just didn't work, just made me think she was more sad since she even changed her name just to create this persona that has now fallen apart. This is a personal flaw I think but I was basically revealing in Lydia's downfall for the last third of the film. Good analysis though, I'm just much more cynical so I find Fields attempts ultimately unconvincing.