TÁR ★★★½

Field's approach to elision and even visual composition strikes me as a little robotic, but that might just be my own prejudice speaking. I mean, intellectually, I know that not everyone's trying to be Bresson. But what makes Bressonian elision so wonderful is its sense of freedom, freedom to abandon convention and pursue a rhythm wholly internal to the work at hand. Occasional it's an act of denial, but more often I get the sense that Bresson is simply letting his attention fall where it will (though of course it takes great discipline to appear unfettered). Fields's elisions feel far more programmatic, like he is responding to a pre-set regimen rather than anything approaching a sense of rhythm. And why does he want to compose so symmetrically, it practically looks dated already.

It really is quite an enjoyable movie though, and more gothic than Hammer. Even if I don't love Field's form, he does manage to give the audience exactly the right level of insight into Tár's character, which is no small thing. And the scene where Tár - blessed with innocent pretext - pursues the object of her lust only to end up in a dripping, creepy underworld with a menacing dog (wait... was that a Cerberus reference? waters of Lethe??) is great in a Wajdaesque sort of way, which I don't often see.

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