Tár

❧

Wikipedia

Tár
Theatrical release poster
Directed byTodd Field
Written byTodd Field
Produced by
Starring
CinematographyFlorian Hoffmeister[1]
Edited byMonika Willi[2]
Music by
Production
companies
  • Standard Film Company
  • EMJAG Productions
Distributed by
Release dates
  • September 1, 2022 (2022-09-01) (Venice)
  • October 7, 2022 (2022-10-07) (United States)
  • March 2, 2023 (2023-03-02) (Germany)
Running time
158 minutes
Countries
  • United States
  • Germany
LanguageEnglish
Box office$29.3 million[4][5]

Tár is a 2022 psychological drama film written and directed by Todd Field. Cate Blanchett stars as Lydia Tár, a world-renowned conductor, whose life unravels after she is accused of misconduct. The supporting cast includes Nina Hoss, Noémie Merlant, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong.

Tár premiered at the 79th Venice International Film Festival in September 2022, where Blanchett won the Volpi Cup for Best Actress. Following a three-week limited theatrical release, it received a wide release on October 28, 2022, through Focus Features. Tár received critical acclaim, especially for Blanchett's performance and Field's screenplay and direction. At the 95th Academy Awards, Tár was nominated for 6 awards, including Best Picture. Blanchett won the BAFTA, Golden Globe, and Critics' Choice Movie Award for Best Actress, and was nominated for the Academy Award and Screen Actors Guild Award in the same category. Since its release, it has been regarded as one of the best films of the 2020s and the 21st century.[6][7]

Plot

Lydia Tár, chief conductor of a Berlin orchestra, heavily relies on Francesca, her personal assistant and confidant. While being interviewed by Adam Gopnik at The New Yorker Festival, Lydia promotes her upcoming live recording of Mahler's Fifth Symphony and memoir Tár on Tár. She meets with Eliot Kaplan, an investment banker and amateur conductor who co-founded the Accordion Foundation with Lydia to support aspiring female conductors. They discuss technique, replacing Lydia's assistant conductor Sebastian with Francesca, and filling a vacant cello position in Berlin.

As a guest lecturer, Lydia holds a masterclass at Juilliard. When a student expresses reluctance to study Bach due to his social views, she encourages them to focus on composers' music rather than their personal lives. The student leaves in frustration. That night, Lydia anonymously receives a first edition of Vita Sackville-West's novel Challenge with the title page embellished with a hand-drawn kené pattern, a personal reminder of her trip to Perú. She tears up the page and throws it away.

Lydia flies back to Berlin, where she lives with her wife Sharon, the concertmaster of the orchestra, and their adopted daughter Petra. Before a blind audition for the cello position, Lydia spots a young Russian candidate, Olga Metkina, in the bathroom. Lydia changes her scorecard to ensure Olga a spot in the orchestra and proposes to the orchestra that Elgar's Cello Concerto be the companion piece to the Mahler symphony, virtually guaranteeing Olga the soloist position. Lydia's attraction to Olga strains her relationships with Francesca and Sharon.

Krista Taylor, a promising young musician whom Lydia once mentored, has been blacklisted after a dispute with Lydia. After sending disturbing emails to Francesca, Krista commits suicide. Lydia instructs Francesca to delete the emails and hire a lawyer after learning of Krista's parents' plan to sue her. Lydia informs Sebastian of his imminent replacement. Incensed, he calls her out on her inappropriate favoritism, leading Lydia to decide against promoting Francesca.

Lydia is haunted by an increasing sensitivity to sound, surreal nightmares, daytime hallucinations, chronic pain, and enigmatic patterned scribbles resembling those Krista once made. While trying to complete a composition dedicated to Petra, she is disturbed by the sound of a medical device next door, where her neighbor is caring for her dying mother. One day, Lydia falls and hurts herself while attempting to follow Olga home, but tells Sharon she was injured in a mugging.

A manipulatively edited video of Lydia's Juilliard class goes viral, and an article accusing her of sexual predation appears in the New York Post. Lydia tries to contact Francesca, who resigned after being denied the promotion. Lydia breaks into Francesca's home and finds a draft of Tár on Tár, which Francesca has renamed Rat on Rat. Lydia, accompanied by Olga, returns to New York City to attend the deposition in the lawsuit of Krista's parents and promote her book; the two are met by protestors, and Lydia is confronted with incriminating emails between her and Krista that Francesca provided.

In Berlin, Lydia is removed as conductor due to the controversy. Furious over the allegations and Lydia's lack of transparency, Sharon bars her from seeing their daughter. An increasingly depressed and deranged Lydia retreats to her old studio, sneaks into the live recording she was supposed to conduct, and assaults Eliot, who replaced her as conductor. Advised to remain out of the public eye by her management, she returns to her modest childhood home on Staten Island, where she finds certificates of achievement bearing her birth name, Linda Tarr. She cries watching an old VHS of Young People's Concerts in which Leonard Bernstein discusses the meaning of music. Her brother Tony arrives and admonishes her for forgetting her roots.

Lydia moves to the Philippines and resumes her career as a conductor. During a business trip, she asks the concierge of her hotel for a massage; misunderstanding her request, they send her to a brothel, where Lydia selects a young woman resembling Olga to be her masseuse, then runs outside to vomit upon realizing where she is. Later, she conducts a live performance of the score for the video game series Monster Hunter in front of an audience of cosplayers.

Cast

Nina Hoss, Noémie Merlant, Todd Field, Sophie Kauer & Cate Blanchett at the 79th Venice Biennale

Production

The Dresden Philharmonic was used as a stand-in for the Berlin Philharmonic.

It was announced in April 2021 that Blanchett would star in and executive-produce the film, which would be written and directed by Todd Field, with production set to begin in September 2021.[14][15] In a statement accompanying the teaser trailer in August 2022, Field said that he wrote the script for Blanchett, and that he would not have made the film if she had declined it.[16] In September 2021, Nina Hoss and Noémie Merlant joined the cast, and Hildur Guðnadóttir became the film's composer.[17]

In an interview with The Guardian in October, Mark Strong revealed that he had finished filming scenes for the film.[18] In November, it was reported that filming was taking place in Berlin, with Sophie Kauer, Julian Glover, Allan Corduner and Sylvia Flote joining the cast.[19] (Kauer is a British-German classical cellist who studied at the Royal Academy of Music.)[20] All diegetic music was recorded live on-set, including Blanchett's piano playing, Kauer's cello, and the Dresden Philharmonic's performances.[21][22]

Release

Tár had its world premiere at the 79th Venice International Film Festival on September 1, 2022,[23] and had its first North American screening at the 49th Telluride Film Festival on September 3, 2022.[24] It had a limited theatrical release on October 7, 2022, then expanded to wide release on October 28.[25][19]

Home media

The film was released for VOD on November 15, 2022, followed by a Blu-ray, DVD, and 4K UHD release on December 20.[26] By March 9, 2023, according to Samba TV, the film had been streamed on Peacock in 458,000 households in the US since the Oscar nomination announcement on January 24. JustWatch also reported it to be, by February 21, the third most-streamed Best Picture nominee in Canada. In the UK, BBC 2 broadcast Tár nationwide on the 14 September 2025, with a reduced running time of 150 minutes.[27][28][29]

Music

A concept album was released on October 21, 2022, featuring Guðnadóttir's score with the London Contemporary Orchestra conducted by Robert Ames, and a rehearsal of Gustav Mahler's Fifth Symphony with Blanchett conducting the Dresden Philharmonic. Cellist Sophie Kauer plays Elgar's Cello Concerto on the album, backed by the London Symphony Orchestra conducted by Natalie Murray Beale.[30] For the week ending November 5, 2022, the Tár concept album topped Billboard magazine's Traditional Classical Albums at number one.[31]

John Mauceri served as consultant on Field's script, helping inform the tenor and accuracy of Lydia Tár's comments on classical music and musicians.[32]

Reception

Box office

Tár grossed $6.8 million in the United States and Canada, and $22.4 million in other territories, for a worldwide total of $29.2 million.[5][4]

In the United States and Canada, it made $158,620 from four theaters in its opening weekend. The $39,655 per-screen average was the second highest of 2022 for a limited release. In its second weekend the film made $330,030 from 36 theaters. In its third weekend it made $500,035 from 141 theaters, and there was speculation in the trades that Tár was an example that there was still a place for "adult-minded fare".[33][34][35] However, once Tár expanded to 1,087 theaters in its fourth weekend, leaving the limited specialty house run for the multiplex, it made only $1.02 million, finishing 10th. Audiences surveyed by PostTrak over the weekend gave the film a 72% positive score, with 42% saying they would definitely recommend it.[36] In its second week of wide release, it made $729,605 (marking a drop of 30%).[37]

Some commentators attributed the poor US domestic box office performance to the film's subject matter alienating a general audience.[38] Others noted a larger trend in US art houses, 40% of which had permanently shuttered during the COVID-19 pandemic, struggling to regain their core 40–70 year-old audience, an audience more prone to health concerns and still hesitant to return to the cinema.[39][40] The New York Times reported that Tár "cost at least $35 million including marketing," and that it and similar highbrow films from established filmmakers such as Paul Thomas Anderson's Licorice Pizza, Guillermo del Toro's Nightmare Alley, and Steven Spielberg's The Fabelmans had "failed to find an audience big enough to justify their costs".[41] 78% of the film's box office takings were overseas.[42]

Critical response

Blanchett garnered critical acclaim for her performance and earned an Academy Award nomination for Best Actress

On Rotten Tomatoes, 91% of 361 critics' reviews are positive. The website's consensus reads, "Led by the soaring melody of Cate Blanchett's note-perfect performance, Tár riffs brilliantly on the discordant side of fame-fueled power."[43] Metacritic, which uses a weighted average, assigned the film a score of 93 out of 100, based on 59 critics, indicating "universal acclaim".[44]

Owen Gleiberman in his Venice Film Festival Daily Variety review wrote:

Let me say right up front: It's the work of a master filmmaker ... Field's script is dazzling in its conversational flow, its insider dexterity, its perception of how power in the world actually works ... Tár is not a judgement so much as a statement you can make your own judgment about. The statement is: We're in a new world.[45]

A. O. Scott of The New York Times writing from the Telluride Film Festival and later from the New York Film Festival stated:

I'm not sure I've ever seen a movie quite like Tár. Field balances Apollonian restraint with Dionysian frenzy. Tár is meticulously controlled and also scarily wild. Field finds a new way of posing the perennial question about separating the artist from the art, a question that he suggests can only be answered by another question: are you crazy? We don't care about Tár because she's an artist. We care about her because she's art.[46][47]

Justin Chang for the Los Angeles Times regarded the film as:

"Both a superb character study and a highly persuasive piece of world building", stating that the director's "storytelling draws no artificial distinction between the big and the small, the important and the mundane; everything we see and hear matters.[48] Tár is irreducible, and it is great."[49]

Alissa Wilkinson, writing for Vox, observed:

"Not to be hyperbolic, but it might be perfect. Todd Field has tuned his themes so brilliantly. You can’t just half-watch Tár, it demands your full attention. That’s the mark of good art, but it’s a discipline so many contemporary films aren’t willing to demand from audiences. And if you’re honest with yourself, you don’t just watch Tár; it watches you, too.”[50]

Reviewing the film for The Hollywood Reporter, David Rooney wrote:

Tár marks yet another career peak for Blanchett—many are likely to argue her greatest—and a fervent reason to hope it's not sixteen more years before Field gives us another feature. It's a work of genius.[51]

Anthony Lane of The New Yorker stated:

To what extent she is a proven predator; how much she deserves to be preyed upon, in turn, by the gluttons of public indignation; and why, despite everything, she should enjoy our lingering sympathy in a way that a middle-aged man in her position would not: such issues will, no doubt, be aired and contested in due course. Field is wise enough to reserve judgment. It would be dead wrong, though, to consider Tár as a kind of op-ed made flesh.[52]

Lane's colleague Richard Brody disagreed and argued in his capsule review that Tár was: “a regressive film that takes bitter aim at so-called cancel culture and lampoons so-called identity politics." Brody laments Field's "absence of style" in filming the music and he accuses the film of "conservative button-pushing" with a narrow aesthetic, failing to achieve dramatic unity.[53]

Additional reactions

Martin Scorsese presenting Field with the 2022 New York Film Critics Circle Awards Best Film of the Year, said,

For so long now, so many of us see films that pretty much let us know where they're going ... I mean, they take us by the hand and, even if it's disturbing at times, sort of comfort us along the way that it will be all okay by the end. Now this is insidious, as one can get lulled into this and ultimately get used to it, leading those of us who've experienced cinema in the past – as much more than that – to become despairing of the future of the art form, especially for younger generations. But that's on dark days. The clouds lifted when I experienced Todd's film, Tár. What you've done, Todd – is that the very fabric of the movie you created doesn't allow this. All the aspects of cinema and the film that you've used, attest to this ... conveyed through a masterful mise-en-scène, as controlled, precise, dangerous, precipitous angles and edges geometrically kind of chiseled into wonderful frame compositions. The limits of the frame itself, and the provocation of measured long takes all reflecting the brutal architecture of her soul – Tár's soul.[54]

Paul Thomas Anderson presenting Field with the Director Medallion at the 75th annual DGA Awards said,

Every detail matters in this film. Nothing is not deliberate or full of intention. It's directed with such perfectly controlled mayhem and glee by Todd, it's really hard not to drool as another director. He made a film which for some years was considered a very dirty word, he made an art film. But it's art that's not fussy or pretentious. Just razor-sharp, pitch black, and hilarious. A very focused mirror held up to some of the worst of our human behaviors. It's also a blast.[55]

In an interview with The Sunday Times, conductor Marin Alsop shared her dislike of the film, calling it "anti-woman", saying "I was offended: I was offended as a woman, I was offended as a conductor, I was offended as a lesbian. To have an opportunity to portray a woman in that role and to make her an abuser – for me that was heartbreaking."[56] In response, Blanchett told BBC Radio 4, the film was a "meditation on power, and power is genderless", and that while her character shares similarities with Alsop, it is a complete work of fiction.[57]

Writing in The Guardian, conductor Alice Farnham thanked Blanchett, Field, and the film for "taking up the baton for female conductors", and for normalising their image.[58] Critic Emily Bootle also defended the film in the i newspaper writing: "This is a film about power [but] sometimes we have to tolerate grey areas."[59] Film critics Mark Kermode and Simon Mayo also disagreed with the interpretation that Tár is "anti-woman."[60]

Writing for Time, Stephanie Zacharek went further: "Tár doesn't offer anything as comfortable as redemption, and it asks us to fall in love, at least a little, with a tyrant. ... Lydia Tár ... knows that the power of a question is greater than that of a slogan."[61]

Music professor Ian Pace discussed the issue in The Conversation: "It would be rash to assume that such a figure could never act in a predatory and exploitative manner. This is not just an issue of identity, but power and the opportunities it provides for the reckless."[62] Conductor Don Baton (a pen name) in City Journal agreed.[63]

Film critic John McDonald for the Australian Financial Review wrote: "Had it been a male conductor, the story would have been a cliché. Had it been a celebration of female power, it would have been no less superficial ... Field has taken the 'Maestro myth' that portrays the conductor as a kind of hypermale and shown that the same issues may apply to a woman."[64][65] Several other conductors and musicians wrote in defense of the film.[66]

Yo Yo Ma told indiewire "Todd has created such a striking film. Cate Blanchett’s Lydia Tár demands that we wrestle with two of art’s most difficult questions: what gives art its power and what role does power play in art?"[67]

In her critique for The New York Review of Books titled "The Instrumentalist", prize-winning novelist and professor Zadie Smith commended Cate Blanchett's performance,[68] and the classroom scene at the Juilliard School was described by A. O. Scott as "a mini-course in the dos and don'ts of contemporary pedagogy."[69][70]

Critic Amanda Hess wrote in The New York Times, "The online cancellation of an artistic giant can be a tedious subject, but in Tár, it acquires sneaky complications ... Tár offers up a work into which we can sublimate our own Schadenfreude and sympathy for abusers. Thanks to Blanchett's luminous performance and Field's puzzle-box storytelling, we are freed to obsess."[71]

Film critic Howie Movshovitz,[72] critic and essayist Philippa Snow (ArtReview),[73] Murielle Joudet (Le Monde)[74] and Guillaume Orignac (Cahiers du Cinéma) draw attention to the film's creative open-endedness, allowing audiences to draw their own conclusions about its significance and meaning.[75]

The New York Times columnist Michelle Goldberg argued that Tár is "a film about cancel culture, making it the rare piece of art that looks squarely at this social phenomenon that has roiled so many of America's meaning-making institutions ... Tár demonstrates that all this flux and uncertainty is very fertile territory for art. Hopefully its success – many are predicting it will win a Best Picture Oscar – will encourage others to take on similarly thorny and unsettled issues. Hysteria about cancel culture can encourage artistic timidity by overstating the cost of probing taboos. In truth, there's a hunger out there for work that takes the strangeness of this time and turns it into something that transcends polemic."[76] Similarly, Ara Osterweil in Art Forum wrote, "Todd Field's brilliant character study (...) suggest(s) that the ritual excommunications of cancel culture may be as exaggerated as the generic fantasies enacted by Tár’s gamer audience."[77]

Austrian musicologist and anthropologist Bernd Brabec alleged that part of Lydia Tár's biography read aloud by Adam Gopnik mines his CV.[78][79] In response, Brabec wrote an open letter[80] to director Todd Field. In the letter, Brabec takes offence at the film mirroring particulars of his academic background and criticizes what he characterized as unfortunately minimal and shallow treatment of the Shipibo-Konibo people in the plot of the film. However, Amanda M. Smith, associate professor of Latin American and Culture at the University of California wrote in ReVista, the Harvard Review of Latin America, "Shipibo-Konibo cosmovision is not merely decorative in the film. It organizes the narrative's internal conflicts and reveals Tár as a tale of shamanic justice in a world where the Global North continues to take from the Global South."[81]

Writing in Art Forum, Ara Osterweil took issue with her colleague Amy Taubin’s critique of the film as being “carelessly racist” in depicting Tár’s fall from grace in the "filthy streets and decaying buildings of an unnamed Southeast Asian country.” [82] Osterweill states “Amy Taubin has denounced the film’s Orientalist reduction of Asia to the equivalent of nowhere. Yet I would like to defend Tár’s problematic ending as self-consciously racist and deliberately ridiculous. Radically departing from the style of the rest of the film. By racially highlighting the power inequities that underlie the composer’s erotic economy, the film shows that Tár’s supposedly rarefied communion with other geniuses is as predictable as the behavior of the politically correct, moderately talented “robots” she despises. It is a powerful moment of recognition for viewers—and of self-recognition for the character. Only by camping his film’s style to the point of parody can Field suggest that the ritual excommunications of cancel culture may be as exaggerated as the generic fantasies enacted by Tár’s gamer audience. While this unnamed Asian country is indeed stereotyped as exotic, the Western-centric composer confirms her valuation of music above all by seizing her new podium with a seriousness befitting the most esteemed Occidental stage.” [83]

Because the film was released in the United Kingdom in January 2023, Tár was included in Sight and Sound's Best Films of 2023,[84] and sat atop the polls of New Statesman[85] and Time Out, with Phil de Semlyen of Time Out writing "Blanchett's Oscar-nominated performance has rightly earned the lion's share of plaudits, but the superb acting is buoyed by Field's subtly off-kilter visual style, lending the 'ripped from the headlines' narrative a hint of Kubrickian uncanniness."[86] The Guardian also chose Tár as best film of the year, with critic Wendy Ide writing, “Todd Field's creation of the magnificent, monstrous fictional conductor Lydia Tár, inhabited down to the last shred of cruelty and ambition by the remarkable Cate Blanchett, is exceptional: a savage, slippery account of rampant narcissism brought down to earth.”[87] In April 2024 the historian Simon Heffer, expressing his opinion in The Sunday Telegraph, wrote Tár is "the finest American film of the century."[88]

Pop culture

Lydia Tár was featured in the Family Guy Halloween special episode "A Little Fright Music", which aired on October 6, 2025.[89]

Retrospective lists

The March 2023 issue of New York magazine listed Tár alongside Citizen Kane, Sunset Boulevard, Dr. Strangelove, Butch Cassidy and the Sundance Kid, The Conversation, Nashville, Taxi Driver, The Elephant Man, Pulp Fiction, There Will Be Blood, Roma, and In the Bedroom, also directed by Field, as "The Best Movies That Lost Best Picture at the Oscars".[90]

The March 2024 issue of IndieWire listed Tár, and In the Bedroom, also directed by Field, as "Best Picture Nominees that Deserved to win the Oscar", stating, "Todd Field's portrait of the talent and ego of a world-renowned conductor is some of the most riveting and ambitious filmmaking in recent memory. Tár feels like a movie people will be talking about and debating long after the ceremony where it lost fades from memory."[91] The June 2025 issue ranked the film at number 4 on its list of "The 100 Best Movies of the 2020s (So Far)."[6]

In June 2025, filmmaker Matthew Weiner named it one of his favorite films of the 21st century.[92] That same month, it ranked at number 67 on The New York Times' list of "The 100 Best Movies of the 21st Century" and number 68 on the "Readers' Choice" edition of the list.[93][7]

In July 2025, it ranked number 43 on Rolling Stone's list of "The 100 Best Movies of the 21st Century."[94]

Accolades

Among other accolades, Tár received six Academy Award nominations, including Best Picture, Best Director, Best Actress for Blanchett, Best Original Screenplay, Best Cinematography, and Best Film Editing.[95]

References

    1. ↑ Hemphill, Jim (February 8, 2023). "Why TÁR Looks Different from Every Other Movie of 2022". IndieWire. Archived from the original on January 10, 2023. Retrieved February 8, 2023.
    2. ↑ Hemphill, Jim (February 19, 2023). "Why Todd Field and Monika Willi Edited 'TÁR' in a 15th-Century Scottish Nunnery During Lockdown". IndieWire. Archived from the original on January 10, 2023. Retrieved February 22, 2023.
    3. ↑ Sherburne, Philip (November 14, 2022). "How Composer Hildur Guðnadóttir's TÁR Soundtrack Unlocks the Film's Eerie Mysteries". Pitchfork. Archived from the original on January 10, 2023. Retrieved February 6, 2023.
    4. 1 2 "Tár". Box Office Mojo. IMDb. Retrieved May 6, 2023.
    5. 1 2 "Tár". The Numbers. Nash Information Services, LLC. Retrieved May 6, 2023.
    6. 1 2 "The 100 Best Movies of the 2020s (So Far)". June 16, 2025. Retrieved June 23, 2025.
    7. 1 2 "The 100 Best Movies of the 21st Century". June 23, 2025.
    8. ↑ Eng, Joyce (January 24, 2023). "Cate Blanchett joins elite group of 8-time Oscar nominees with Best Actress bid for TÁR". Gold Derby. Archived from the original on January 18, 2023. Retrieved January 24, 2023.
    9. ↑ Verhoeven, Beatrice (December 26, 2021). "Tár Breakout Noemie Merlant on What She Learned From Working With 'Fantastic' Cate Blanchett". The Hollywood Reporter. Archived from the original on January 18, 2023. Retrieved January 18, 2023.
    10. ↑ Roxborough, Scott (December 8, 2022). "Tár Star Nina Hoss on Her Way into Her Character's Psyche: 'She Enjoys the Power and the Privilege'". The Hollywood Reporter. Archived from the original on January 18, 2023. Retrieved January 24, 2023.
    11. ↑ Horst, Carole (January 10, 2023). "Musician/Actor Sophie Kauer Thought Tár Would Be a Great Way to Showcase the Emotion of Classical Music". Variety. Archived from the original on January 24, 2023. Retrieved January 24, 2023.
    12. ↑ Gopnik, Adam (February 14, 2023). "Cate Blanchett Plays Herself". The New Yorker. Archived from the original on January 18, 2023. Retrieved February 17, 2023.
    13. ↑ Abramovich, Seth (October 24, 2022). "Newcomer Zethphan Smith-Gneist Holds the Screen With Tár Star Cate Blanchett in Film's Most Talked-About Scene". The Hollywood Reporter. Archived from the original on December 4, 2022. Retrieved January 20, 2023.
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    16. ↑ Pearce, Leonard (August 25, 2022). "Cate Blanchett is a Musical Force in the New Trailer for Todd Field's Tár". The Film Stage. Archived from the original on December 1, 2022. Retrieved August 26, 2022.
    17. ↑ Raup, Jordan (September 8, 2021). "Nina Hoss and Noémie Merlant Join Cate Blanchett in Todd Field's Tár". The Film Stage. Archived from the original on October 27, 2022. Retrieved September 14, 2021.
    18. ↑ Cocozza, Paula (October 28, 2021). "Mark Strong on acting, insecurity and life without a father: 'I got angry as I got older. It took years to fix". The Guardian. Archived from the original on November 22, 2022. Retrieved November 19, 2021.
    19. 1 2 D'Alessandro, Anthony (November 24, 2021). "Todd Field Cate Blanchett Movie Tár Sets 2022 Release & Adds Nina Hoss, Noémie Merlant, Mark Strong & More". Deadline Hollywood. Archived from the original on June 1, 2022. Retrieved November 24, 2021.
    20. ↑ "Sophie Kauer (cello) – Biography". Kulmag Live. Archived from the original on December 3, 2022. Retrieved July 28, 2022.
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    22. ↑ Welch, Alex (October 28, 2022). "Sophie Kauer on working with Cate Blanchett and mastering music in Tár". Digital Trends. Archived from the original on December 30, 2022. Retrieved December 30, 2022.
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    25. ↑ TÁR [@tarmovie] (September 21, 2022). "Tickets are now on sale for Todd Field's Tár. In select theaters October 7, everywhere October 28" (Tweet). Retrieved September 21, 2022 – via Twitter.
    26. ↑ "Tar DVD Release Date". www.dvdsreleasedates.com. Archived from the original on November 21, 2022. Retrieved February 26, 2023.
    27. ↑ "BBC Two TV Guide & Listings - Today & This Week Schedule 📡". livingabroad.tv. Retrieved September 14, 2025.
    28. ↑ D'Alessandro, Anthony (March 9, 2023). "Oscar Halo Effect: Top Gun: Maverick Most Viewed in Streaming Post-Noms, Elvis Most Watched Overall, Avatar 2 Biggest at Box Office". Deadline Hollywood. Retrieved June 7, 2023.
    29. ↑ "Triangle of Sadness and The Fabelmans top streaming charts in Canada". Cult MTL. February 21, 2023. Retrieved June 7, 2023.
    30. ↑ Gonzales, Kristian (September 11, 2022). "Tár Concept Album, Featuring Hildur Guðnadóttir and Cate Blanchett, Will Arrive in October". uDiscoverMusic. Archived from the original on November 26, 2022. Retrieved September 12, 2022.
    31. ↑ "Traditional Classical Albums". Billboard. November 11, 2022. Archived from the original on November 5, 2022. Retrieved November 5, 2022.
    32. ↑ Michael Andor Brodeur (October 14, 2022). "Cate Blanchett on Tár role: 'Music is often the starting point for me'". The Washington Post. Archived from the original on November 8, 2022. Retrieved December 3, 2022.
    33. ↑ Goldsmith, Jill (October 16, 2022). "Till, Decision To Leave Open Strong As Tár, Triangle Of Sadness Persevere; A Comeback For Adult-Minded Fare? – Specialty Box Office". Deadline Hollywood. Archived from the original on October 27, 2022. Retrieved October 16, 2022.
    34. ↑ "Domestic 2022 Weekend 41". Box Office Mojo. Archived from the original on October 27, 2022. Retrieved October 18, 2022.
    35. ↑ Goldsmith, Jill (October 23, 2022). "The Banshees of Inisherin Crowns October Indie Revival – Specialty Box Office". Deadline Hollywood. Archived from the original on November 3, 2022. Retrieved October 23, 2022.
    36. ↑ D'Alessandro, Anthony (October 30, 2022). "Black Adam Flies to $111M+ During Sluggish Halloween Weekend – Sunday Box Office". Deadline Hollywood. Archived from the original on November 12, 2022. Retrieved October 30, 2022.
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