Portrait of a Lady on Fire / Portrait de la jeune fille en feu
(2019) dir. Céline Sciamma
'There’s this French author named Annie Ernaux, and she wrote a book about her own abortion, and in this book, she says there is no museum in the world where there is a frame called “The Abortion.” It’s an everyday thing, but it’s never represented. And why?'
- Céline Sciamma in an interview with Vox [x]
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Tár (2022, dir. Todd Field) - review by Rookie-Critic
Tár sees Cate Blanchett at what is, in this reviewer's opinion, a career best. Her performance as the titular composer/conductor Lydia Tár is quite phenomenal, even if the film itself tends to get bogged down under the weight of its own philosophical musings at times. A conductor on the cusp of achieving her career-spanning attempt to play and live record all 10 of composer Gustav Mahler's symphonies. Tár is clearly well-versed and incredibly well-respected in her field, and a lot of the movie is taken up by the character's musical psuedo-monologues and conversations had with colleagues and friends, but, of course, things aren't as rosy as they seem, and before long pieces of the veneer start to chip away. In a lot of respects I truly applaud this movie for tackling the question of "should the art be separated from the artist? Should the work, or the career, bear the repercussions of the individual's actions, wrongdoings, or moral failings, or should the art be considered away from those repercussions, and be allowed to be judged on its own merits? Can it be?" It's a question that I feel gets discussed a lot by artists and people the world over all the time, but rarely is it discussed within the art itself. It's a question I have even been on both sides of at one point in time or another. In regards to if the film succeeds in presenting this question, I'd say the answer is a resounding yes.
Field doesn't really tell the audience how they should feel (although I think his stance is fairly clear), but rather presents the story in as calculated a way as possible as to let the audience take in the story and leave the theater deliberating, fully able to come to their own conclusions based on what they had just seen. However, as I stated at the beginning of the review, the movie tends to lean heavily into waxing poetic on its topic, which would be welcome once, twice, or even a handful of times, but it is almost literally what accounts for the film's 2 hour and 28 minute runtime. This length was not entirely necessary and I feel like a lot of the scenes of rambling could have been cut down. On another note, there were a couple of things the film was getting at that I don't feel it fully delivered on. Strings were tugged, but not fully unraveled, and you leave the theater thinking about what those moments were trying to say, or if they should have done more to say it, or if they even should have been included at all. The film is good, great even, but it did have a few cracks in the armor. Blanchett's leading performance and the film's story, which plays out wonderfully and presents the film's central question well, are the big draws for this one.
Score: 8/10
Currently available to rent or purchase on digital (iTunes, Amazon, Vudu, etc.) and on DVD, Blu-ray, and 4K through Focus Features/Universal Studios.
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New poster for LEE (2024, dir. Ellen Kuras)
starring KATE WINSLET, MARION COTILLARD, NOÉMIE MERLANT, ANDREA RISEBOROUGH
In theaters September 13, 2024.
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