TÁR

Lydia Tár (Cate Blanchett), a trailblazing composer-conductor and the first openly gay female chief conductor of the Berlin Philharmonic Orchestra, is a force to be reckoned with. In a candid conversation at the New Yorker Festival, she shares her creative vision with Adam Gopnik, discussing her upcoming live recording of Mahler's 5th Symphony, among other projects. Her loyal companion, Francesca Lentini (Noémie Merlant), her personal assistant, and Sharon Goodnow (Nina Hoss), her ailing wife and concertmaster, are always by her side. Lydia also meets Eliot Kaplan (Mark Strong), a fellow conductor and the director of a fellowship program she founded to empower aspiring women conductors, where they discuss the possibility of replacing Sebastian (Allan Corduner), her current assistant conductor, with Francesca, as well as filling an open cello position in the orchestra.

As Lydia travels to New York to guest teach at Juilliard, she finds herself surrounded by young and ambitious musicians. In a moment of frustration, she chides Max (Zethphan Smith-Gneist), a student, for prioritizing identity politics over the timeless beauty of classical music. Her words have a profound impact on Max, who storms out of the classroom, leaving Lydia to ponder the importance of looking beyond surface-level differences to the music that truly matters.

Back in Berlin, Lydia receives Vita Sackville-West's novel "Challenge" from Krista Taylor (Sylvia Flote), a former fellowship program participant. The dream sequences and email exchanges that follow suggest a complex web of relationships between Lydia and Krista, which ultimately ended in heartbreak for the young conductor. Lydia's response is to blacklist Krista, effectively ending her chances at a conducting career.

As Lydia prepares for a blind audition to find a new cellist for the orchestra, she meets Olga Metkina (Sophia Kauer), a talented Russian musician who catches her eye. With Olga by her side, Lydia makes sure to secure her spot in the orchestra and even offers her a solo performance in the companion piece to Mahler's 5th, Edward Elgar's cello concerto. However, as she immerses herself in preparation for the recording, her relationships with Francesca and Sharon begin to fray, as both women recognize Lydia's growing attraction to Olga.

Lydia's decision to replace Sebastian with a new candidate sparks outrage from him, who accuses her of favoritism and abusive behavior towards young women. His words hit a nerve, causing Lydia to reevaluate her actions and consider the long-term consequences for those around her.

As the weight of Krista's devastating departure settles in, Lydia finds herself consumed by the dark shadows of suspicion and accusation. A cryptic note left behind by Krista sets off a chain reaction of events, prompting Lydia to take drastic measures to erase any digital evidence linking her to the deceased. But as she scrambles to contain the fallout, Lydia's own world begins to unravel. Vivid hallucinations of screaming women pierce through her waking moments, while chronic pain and heightened sensitivity to sound become constant companions. Her only solace comes from Olga's unwavering support and the gentle presence of Petra, their adopted daughter.

As Lydia struggles to maintain a sense of normalcy amidst the chaos, she finds herself increasingly disturbed by the mundane rituals of her neighbor, who is devotedly caring for his dying mother. The juxtaposition between their lives serves as a poignant reminder of the fragility of human existence. In a desperate bid to reclaim control, Lydia follows Olga back to her dilapidated apartment complex, only to be startled by a snarling dog and left limping on the floor.

With Sharon oblivious to the truth, Lydia concocts an elaborate lie about the injury, which is soon followed by the shocking revelation that Francesca has abandoned her position due to Lydia's refusal to replace Sebastian. The fallout from Krista's death continues to spread like wildfire, as an edited video of Lydia's Juilliard days goes viral and a scathing article in the New York Post accuses her of wrongdoing.

As protests erupt outside her home, Lydia is forced to confront the consequences of her actions at a deposition for Krista's lawsuit. The presence of Olga by her side offers fleeting comfort, but ultimately proves insufficient as Francesca's betrayal cuts deep. Sharon's departure from their life, fueled by anger and hurt, leaves Lydia feeling isolated and adrift.

In the midst of this turmoil, Lydia's professional world begins to crumble, culminating in her removal as conductor. In a fit of desperation, she crashes a live recording performance of Mahler's 5th, launching a physical attack on her replacement, Eliot. As her management agency advises her to lay low, Lydia retreats to the humble surroundings of her childhood home on Staten Island, where the truth about her past as Linda Tarr slowly begins to surface.

In the midst of this introspection, Lydia finds solace in a tape of Leonard Bernstein's iconic "What Does Music Mean" series, watching as her former mentor shares his wisdom and passion with a new generation. The return of her brother serves as a poignant reminder of the fragility of their relationship, as he scolds Lydia for her reckless behavior.

As time passes, Lydia relocates to the Philippines, where she finds a sense of purpose as conductor of a thriving orchestra. In a curious juxtaposition, her search for relaxation at a local massage parlor/brothel becomes an eerie reminder of her own musical endeavors. The array of escorts, arranged in a deliberate display like the intricately composed notes of her orchestra, seems almost surreal. Amidst this bizarre scene, one particular woman catches Lydia's attention - a striking individual who, in a nod to Mahler's iconic Symphony No. 5, occupies the role of #5. As if transported back to the haunting moment when art and reality blurred, Lydia flees the establishment, overcome with a sudden and intense nausea.

In a final, jarring juxtaposition, Lydia takes her place at the podium, baton in hand, as she conducts an orchestra in the score for the film adaptation of the popular "Monster Hunter" video game. The audience before her is comprised entirely of cosplayers, their elaborate costumes and prosthetics adding to the surreal atmosphere. The once-reserved conductor now seems fully immersed in this bizarre world, as if the very boundaries between reality and fantasy have been obliterated.