'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.

During the 1930s, photography took over magazines. The modern press was invested. It needed to attract and inform and an image speaks louder than words. Under these influences, fashion photography, advertising and photojournalism were really born. Roger Schall was part of this new generation of photographers, which moved from a fashion photo to a major feature with their eyes wide open. His career in the 1930 perfectly illustrates this movement. How did Roger Schall see this optimistic world as it became more humane and then soon had its dreams shattered? His pictures can tell us a lot, not only about the period and its contradictions, but also of course about how photography was practiced at that time…
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.
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When science, Bruce Banner is exposed to gamma radiation from his experiment, he transforms into a gigantic green monster when he gets angry and wreaks havoc wherever he goes.