'Tár' — The Monster's Side of Paradise
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.

Three times she travelled until the last stop on the F line. Each as if it was the first. There she found a meatless Disneyland, only skin, bone and memories. She thought of Dorothy and her dog. On her skin she felt the taste of the sea and she discovered new flavours as she dived into the freezing cold water. Now she fears everything will vanish like a wave that goes and never returns. Unlike her, I never travelled to the end of the F line. But I can see, hear and feel it. Can you?
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
When diverse representation is featured on-screen, it oftentimes comes with strings attached that undermine the message they were trying to send. This can be attributed to the fact that behind-the-screen, the industry primarily does not reflect the breadth of diverse difference that is present in daily life. That’s why when something as powerful and authentic as Minari comes along, it is both incredibly wonderful and needs a large audience to witness it.
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