'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.

Shuichi Furukawa receives a phone call from his mother. She reminds him that they are moving the next day. The following day, Shuichi takes a train ride back to his hometown. He arrives at his parents home, but nobody is home. He looks for the house key under a potted plant but can't find the key. He starts to thinks back to his childhood days in his parents home. Shuichi grew up with his younger brother, older sister, father who ran a shoe making business out of their garage and mother. Shuichi grew up with a crush on an older woman who lived next door and he loved to make piggy banks out of empty whiskey bottles. One day on a school picnic, Shuichi's classmates grabbed a lunchbox from a fellow student and eventually gave the lunch box to Shuichi. All the other students chanted "throw it away," while Shuichi's former friend looked on in despair.
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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