Welcome to Cate Blanchett Fan, your prime resource for all things Cate Blanchett. Here you'll find all the latest news, pictures and information. You may know the Academy Award Winner from movies such as Elizabeth, Blue Jasmine, Carol, The Aviator, Lord of The Rings, Thor: Ragnarok, among many others. We hope you enjoy your stay and have fun!
During Milan Fashion Week, Cate Blanchett has also attended CNMI Sustainability Fashion Award where she presented Visionary Award to Giorgio Armani.
On October 17th, Cate is a guest speaker at AIB Sustainability Conference. Link to register for the virtual event can be found below.
We have added photos from the Giorgio Armani SS23 show on the gallery.
CNMI Sustainability Fashion Award
Cate Blanchett to bestow the Visionary Award to Giorgio Armani, given her friendly relationship with “the King, the Maestro,” as she called him on stage, and her stance as a longtime advocate for sustainability? Armani was rewarded for his philanthropic efforts, research into sustainable materials, initiatives to cut waste and long-lasting designs.
Earlier in the day, Blanchett attended Armani’s spring show and, on the sidelines of that event, she said she would start shooting a new film in about a month in South Australia directed by Warwick Thornton and play the role of a nun. Asked if she had any friends that are nuns, shaking her head, she said “no, [for inspiration] it all comes from the mind of Warwick.”
Cate Blanchett, Giorgio Armani, Roberta Armani, Lauren Hutton at CNMI Sustainability Fashion Award
A week ago today, TÁR had it’s premiere at the 79th Venice Film Festival where the movie and Cate Blanchett had received rave reviews. It was reported that the movie received a standing ovation that went on for over six minutes. TÁR is an original screenplay by director Todd Field and his first film in 16 years. He said during the press conference of the movie that he wrote it for Cate Blanchett. Blanchett plays the titular character, the fictional Lydia Tár, who is considered to be one of the greatest conductor and is the first female conductor of a major German orchestra. The movie had also it’s North American premiere in Telluride this past weekend. Before it’s October 7th release in the US it will have it’s New York premiere on October 3rd as part of New York Film Festival main slate then it will be released across the globe around January-February 2023.
We have gathered video interviews and some of the reviews on the film. You can check them below.
On the first day of the festival, Cate Blanchett arrived where she did some interviews for TÁR then attended a dinner organized by Armani Beauty in honor of Regé-Jean Page, who is the face of Armani Code men’s fragrance.
79th Venice Film Festival – Day 1
Armani Beauty Dinner
Photographed by Greg Williams
‘Tár’ Earns Ecstatic 6-Minute Standing Ovation in Venice, Generating Instant Oscar Buzz
The 79th Venice Film Festival officially kicked off the fall Oscar race on Thursday afternoon with Todd Field’s “Tár,” a drama starring Cate Blanchett as a famous composer embroiled in a public scandal. The film was showered with an ecstatic six-minute standing ovation as the audience inside the Sala Grande Theatre kept chanting “Bravo!“
Clutching the hand of festival chief Alberto Barbera, Blanchett took a bow — but the clapping continued and even grew louder. When the applause finally ended, a misty-eyed Blanchett turned to someone on her team and said: “Let’s get a drink.”
Indeed, Blanchett’s work in “Tár” will likely be one of the most toasted performances of Oscar season. The enthusiastic reviews for the film all but guarantee Blanchett will land her eighth Oscar nomination for acting. (She’s already won two Academy Awards — for 2005’s “The Aviator” and 2014’s “Blue Jasmine” — but “Tár” is bound to stir up speculation that she could take home a third statuette in March 2023.)
Please be aware that some reviews and interviews with the cast and director include spoiler from the movie.
Cate Blanchett and her 'TAR' co-stars Nina Hoss and Noemie Merlant were given a warm welcome by fans as they arrive for the movie's world premiere at the Venice Film Festival #Venice79pic.twitter.com/tJG0wAfZhi
In Tár, Cate Blanchett Gives a Dazzling Performance as an Orchestra Conductor on the Edge
In writer-director Todd Field’s dazzling, uncompromising high-wire act Tár—playing at the 79th Venice Film Festival—Cate Blanchett plays Lydia Tár, a conductor at the top of her game, and of her world. We don’t see her struggling to be the best, or complaining about how hard it is to be recognized in a field dominated by men. In fact, she believes women conductors have no reason to complain about disadvantage or discrimination. While men often use money and power to fuel their sense of entitlement, Lydia stakes her claim on her own intelligence. She takes what she wants from people and leaves scorched earth behind. She’s great and awful in equal measure, so compelling you can’t turn away from her, but also touching in a way that never courts our pity. She’s unlike anyone we’ve ever seen onscreen, which may help explain why this is only Field’s third movie as a director, even though he has worked steadily through the years as an actor: he’s obviously a guy who waits for the right one to come along.
Tár, Field’s first film in 16 years, is extraordinary. It’s also, in places, disconcertingly chilly and remote, possibly the kind of movie that’s easier to love than it is to like. But people will surely be talking about it, and about Blanchett’s performance specifically. Blanchett, though extremely gifted, can be excessively mannered. (Her 2014 Oscar-winning role in Blue Jasmine is Exhibit A; she hits each Blanche du Bois-inflected note with tuning-fork precision.) But she can also be a performer of great, near-alien strangeness and beauty, and that’s the subterranean current she’s tapping as Lydia Tár. This is a willful, charismatic performance, stubborn and elegant as a vine.
Field’s previous two films were adapted from previously existing sources: In the Bedroom, from 2001, was drawn from an Andre Dubus short story, and Little Children, from 2006, was based on Tom Perrotta’s novel of the same name. But Tár, he has said, was written specifically for Blanchett, and his surefooted direction makes the most of her every line and gesture. When Blanchett as Lydia stands before her musicians, she’s so open she may as well be listening through every pore. In her kingdom of woodwinds and strings, she can hear things we can’t, like the rush of wind beneath a bird’s wing—she knows intuitively whether that whoosh is too loud or too soft, and she can shift it accordingly. Blanchett learned to speak German, play piano and conduct an orchestra for the role, though what she does goes beyond mere research and memorization. Her movements are precise, definitive, balletic: Blanchett plays a woman who knows what she was born to do, and the thrill of it sets her eyes ablaze. Tár doesn’t offer anything as comfortable as redemption, and it asks us to fall in love, at least a little, with a tyrant. But how often do we see women portrayed this way, as magnificent rather than admirable? Lydia Tár is the antithesis of tote-bag feminism, not least because she knows that the power of a question is greater than that of a slogan.
Cate Blanchett is mesmerizing as a monstrous orchestra conductor in Todd Field’s latest masterpiece, one of the most grippingly brilliant films of the year.
Todd Field’s TÁR is a two-hour-38-minute slow dive into the increasingly alienating psychology of a world-famous orchestra conductor. It moves to a rarefied tempo: philharmonic politics, contested cello solo auditions and live-recording contract negotiations for one of Mahler’s more daunting works. It is replete with classical-music-world in-jokes and casually caustic namedrops that must mystify anyone who failed to graduate from Juilliard with honors before pursuing a doctorate in Advanced Stravinsky. It has absolutely no business being even remotely watchable, and yet here it is, one of the most grippingly brilliant films of the year, featuring, in Cate Blanchett’s mesmerizing central turn, perhaps the season’s first truly irreplaceable star performance.
‘Tár’ Review: Cate Blanchett Orchestrates Her Own Destruction
“TÁR” is so much more than the Great American Movie about “cancel culture” — a phrase that it humiliates with every movement — but this dense and difficult portrait of a female conductor’s fall from grace also demands to be seen through that singular lens from its very first shot. Todd Field’s thrilling, deceptively austere third film exalts in grabbing the electrified fence of digital-age discourse with both hands and daring us to hold onto it for 158 minutes in the hopes that we might ultimately start to feel like we’re shocking ourselves.
The “Little Children” maestro’s first movie in 16 years — and the only original screenplay he’s ever directed — isn’t quite the ultra-mordant satire you might imagine if someone just told you where its final scene takes place. On the contrary, Field has come back to us with a savage yet acutely sincere character study that’s slathered in a million shades of gray. “TÁR” tells the story of a trailblazing woman whose aspiration to embody the grandeur of the past makes her vulnerable to the uniquely modern pitfalls of the present. The film is every bit as brilliant and implosive as she is.
Cate Blanchett makes for a magnificent 21st century Icarus. Expertly weaponizing her inimitable gravitas away from art and towards predatory self-preservation instead, the “Carol” star commands the movie’s lengthy and unbroken scenes as if she were conducting them herself; as Lydia gradually loses her ability to modulate the tempo of the world around her, “TÁR” finds a sickening pleasure in the dissonance between a spiraling character and an actor in perfect control of her instrument.
We’ve seen Blanchett play women on the verge of a nervous breakdown before, but she’s never obliterated herself on screen with such concussive force. The controlled demolition of a performance she delivers here provides a more nuanced (and cautiously sympathetic) interpretation of the social dynamics behind the #MeToo movement than any male actor or character might be able to offer. It’s because of Blanchett that “TÁR” is able to elevate the uselessly outmoded paradigm of separating the art from the artist into the visceral portrait of an artist separating from herself.
Cate Blanchett May Have Found Her Magnum Opus in the Tremendous TÁR\
The film is loaded with references to high-culture figures, to literature, to music theory. It all sounds pretty impressive. Which is the point: how often have we been so glamoured by smarts and talent and accomplishment that we miss an obvious pattern, or disregard contrary narratives as bitter noise? TÁR offers itself up as instructive tool, diligently tearing down the specific mythos that Field has worked so meticulously to create.
Somehow, this all happens without the moralistic droning of a lecture. TÁR is breathtaking entertainment, beautifully tailored in luxe, eerie Euro sleekness by production designer Marco Bittner Rosser and cinematographer Florian Hoffmeister, and ominously scored by Hildur Guðnadóttir (who gets a little meta shout-out in the film). That fine craftsmanship is all anchored by Blanchett’s alternately measured and ferocious performance, a tremendous (but never outsized) piece of acting that is her most piercing work in years. Alluring and frighteningly vituperative, Lydia is a beguiling creation, all the more villainous for the beauty that birthed her.
From the get-go, then, Tár aims to disrupt conventional rhythms — as does its eponymous protagonist Lydia Tár (Blanchett), a celebrated classical conductor known worldwide for her unorthodox approach to music, but known only to her most intimate inner circle for personal dealings that cross the line from unorthodox to dysfunctionally toxic. She has every award available to her art, her lifelong dream job conducting the Berlin Philharmonic, a cavernous Architectural Digest apartment that she shares with her beautiful, gifted violinist partner Sharon (Nina Hoss) and their angelic moppet of a daughter — everything, in other words. And when has having everything ever boded well for a character? Tár feels jinxed from the film’s first full scene, an agonisingly obsequious onstage Q&A — played by Blanchett with a performative graciousness that feels wryly knowing and meta — in which her manifold achievements are trotted out like a list of potential charges against her.
Yet it takes us time to spot the makings of her downfall, in part because Field’s film so cleverly guards our access to her, gradually peeling away her shellacked layers of public decorum and lucidity and wit, making us — and, one feels, the forever surrounded Tár — wait and wait to get her alone. This isn’t a typically romantic portrait of unhinged genius: the maestro (and don’t you dare call her maestra) here has an implacable core of self-knowledge and self-belief that make her spiralling sociopathic impulses all the harder to square with her sleek-suited image. Suffice it to say that MeToo-era queries of abuse, offence and cancellation are raised in the film’s complex, prickly inquiry; you can probably guess that Field and Blanchett have no interest in tidy answers.
Not since Carol has Blanchett got to negotiate this degree of inner turmoil on screen; not since her Oscar-winning turn in Blue Jasmine has a part stretched to both the most icily contained and hotly raging extremes of her range. In a film expressly about the power granted by untouchable brilliance, hers makes this impossible moral minefield of a woman warm to the touch; the unpredictable tics and intricately detailed facial maps of thinking that she grants Tár make this nearly three-hour film consistently riveting, as tense as it is languid.
Cate Blanchett changes music and conquers Venice with the film Tàr by director Todd Field
The first noteworthy style is the look of our conductor, Lydia Tár, a.k.a the shining Cate Blanchett; a tailor-made men’s suit, a white shirt, the blond hair on her shoulders, freshly combed, and pale make-up showcased both on the podium and in the brutalist house she shares in Berlin with her violinist wife Sharon (Nina Hoss). In rhythm, in heartbeats, in the mathematical simplicity of music is defined Lydia’s imaginary life, told in Todd Field’s film Tár, which narrates the rise and fall of the Berlin Philharmonic’s film female conductor. Cate, good friend of the Venice Film Festival, whom she supported in attendance in the darkest moments of the Covid pandemic, returns to shine, with a role tailored to her legend: a eulogy of emancipation in a world as separate and non-inclusive as the world of classical music, but spiced up with the complexities of the decision-making and the dramas of the post #MeToo era. “My character”, said the actress, “is enigmatic, she confronts power and is at the top of her career, a loner in the female world. But her life is difficult, the big apparatuses and financiers press her; every time she must prove something more. Such a struggle exhausts her. It is always more difficult for a woman in a top position”. Tár is a film with a very broad and visionary ambition, for which the Australian Blanchett studied piano, an American accent, German, and posture to be able to conduct the orchestra from the podium in a credible way. Venice is already ready to beat time with her, Cate, an absolute icon who certainly mirrors Lydia’s passion, success, and eagerness to live.
TÁR has screened in Telluride, Colorado over the weekend and was well-received by the American critics. Coinciding with the US premiere is the tribute to Cate Blanchett and Q&A with her, Nina Hoss, and director Todd Field. While in Telluride, Cate also watched Alejandro G. Iñarritu’s new movie, Bardo.
Cate Blanchett: ‘TÁR’ Shows How ‘Legacy Will Be the Death of Your Artistry’
On Saturday night, after all 157 minutes of “TÁR” played, and a 20-minute highlight reel of her work was shown, the Telluride Film Festival finally brought out Cate Blanchett for a tribute that included awarding her the Silver Medallion, and having an onstage chat with her about the new film in front of an audience that included Anne Hathaway, Jeremy Strong, James Gray, Karyn Kusama, Rooney Mara, Frances McDormand and the rest of Women Talking cast, Paul Mescal, and Phoebe Bridgers.
It was almost fitting to have “TÁR” as the focus of a tribute to Blanchett, given how the film sees her playing a highly accomplished conductor whose world starts to unravel, and actually includes an early scene where her character is also interviewed onstage, having to reflect on her body of work.
What Blanchett herself began to focus on was giving attendees an idea of what happens with performers behind the curtain. “The conductor’s that I spoke to and observed, talked about [an] extreme sense of nerves, and I know that inherently, from having years and years and years working on stage, is that I stand on stage, as I did before I came on here, the worst role you could possibly play is yourself,” said the actress. “I would much rather play Hedda Gabler. That is much easier than playing Cate Blanchett, whoever that is.”
Blanchett called “TÁR,” filmmaker Todd Field’s first release in 16 years, a process film. “I think it’s interesting. You don’t see the performance, you see the process of making something. And that process is indelicate and impolite and full of doubt. And I think that that’s the state that [Lydia Tár] is in personally, as well as professionally.”
She added “the thing that the audience doesn’t see, they think of performers as being supremely confident channels. And performers are riddled with doubt. And that the supreme act of bravery, is coming out and channeling the things through them, not for themselves, but for you guys.” While the enlightening sentiment moved Hathaway to tears, according to a couple of onlookers, Blanchett could not help but add a tag, using a jokingly vulnerable voice to say, “We’re doing it for you guys, it’s all for you.”
Speaking more on “TÁR,” Blanchett shared that she was immediately impressed with how Field’s script depicts an artist in preparation, saying “it was one of the most assured, clear, don’t-need-to-change-a-syllable screenplays that I have ever read in my life,” she also found his directing approach to be a pleasant surprise. “You couldn’t have hoped for a better collaborator than Todd,” said Blanchett. “Even though he’d written the screenplay, I’d say, ‘Wait, hang on, you said this needs to happen, too.’” His response to her would be, “Oh don’t worry about that, the writer wrote that. Don’t worry about it.”
Their collaboration was a long time coming, with Blanchett having been in talks to star in the film Field had been working on with Joan Didion in 2012. “It takes a great deal to get Todd Field to leave his barn to come out and make another movie,” said the actress. “And I think we’re all very grateful that he has done so. But he doesn’t do so unless he has something to say. And he has so much to say in this script.”
One of those things is a statement about legacy, something Lydia Tár is obsessed with. “As an artist, when you get to the top of Mount Olympus, if you’re a genuine artist, you have to blow it all up. Because legacy will be the death of your artistry,” said Blanchett. “So in the end, that’s what I found really noble about the character. But unfortunately, by blowing that up, there’s a lot of casualties. I think that’s the complicated thing about it.”
Cate Blanchett Earns Her First Award (of Surely Many) for TÁR
TÁR, which landed at Telluride after glowing reviews in Venice, sees Blanchett deliver a bombastic performance as the head conductor of the Berlin Philharmonic, who has reached the highest pinnacle of success in her field. ??”She’d made a commitment to herself very, very early on that she would transform herself into something great,” Blanchett said of the character during the Q&A after the screening. “And then what you see in the film is the fact that she’s on that pinnacle, and the only next steps you can possibly make is down — and in artistic life, that is the greatest step you can possibly make.”
In the beginning of the film, the audience is let in on the many habits in Lydia’s life, from her tailored suits and ultra-chic Berlin home to her obsessive handwashing and her intense pre-performance rituals. Blanchett said that she was able to embody Lydia’s flaws because she relates to the anxiety that every performer faces before stepping out onto a stage. “I think that’s the thing that the audience doesn’t see — they think about performers as being supremely confident,” she said. “Performers are riddled with doubt, and the supreme act is coming out and channeling the thing through them, not for themselves, but for you guys.”
Blanchett elaborated more on the way that every performance is a risk, a feeling she’s had in her own work, especially when she’s performed in plays. “Sometimes it may not lift off, but that’s the exciting, dangerous thing,” she said. “And I think that’s the thing that people forget is there’s not some certainty that we know how to do this. Every single time you go on set, every single time you step on stage, every time you step on the podium in front of an orchestra—it may be okay, but it may not be the best they can do.”
And for the extremely small number of major female conductors, there are even more challenges. As Blanchett, who spoke to numerous female conductors in preparation for the role, pointed out: “When they step on the podium, 70% is a political act and they have to spend 70% of their energy pushing aside the fact that they’re female, simply so they can be musicians.”
The further you get into TÁR, the more you begin to realize that all is not well in the life that Lydia has built, and that her past misdeeds may be about to make her life unravel. In the era of #MeToo, Field is using this story to at least in part explore those abuses of power. “Artists are complicated people – they live in the gray areas,” said Blanchett. “And I think these are all the questions that the film asks: in the pursuit of greatness, what do we condone and who supports those things that might destabilize other people?”
Review: Cate Blanchett delivers a Telluride ‘Tár’ de force
When Cate Blanchett took the stage Saturday evening for her Telluride Film Festival tribute, right after a screening of her astonishing new movie, “Tár,” the audience must have enjoyed a bit of a chuckle. Most audiences that get a post-screening Q&A with Blanchett — and there will probably be a few in the months to come — will find themselves in a similar position. In “Tár,” Blanchett plays a world-renowned classical conductor named Lydia Tár, and one of her first scenes is a long, riveting and revealing conversation with the New Yorker writer Adam Gopnik (playing himself), held in front of a live audience.
It’s an instantly captivating sequence, fearless in its musical and intellectual rigor, that hard-wires us into the workings of Lydia’s formidable mind. We drink in her black-suited elegance and sense her initial guardedness, though any anxiety soon melts way as Lydia, as assured a speaker as she is a conductor, begins holding forth about her art, her love for Mahler and Bernstein, and her experiences studying, playing and conducting music all over the world. Her synapses fire like mad and her hands spring to inventive life as she describes her role in not just keeping but creating time, molding and sculpting it with a level of imagination that the audience will detect only as a sublime piece of music.
“Tár,” the third and finest feature directed by Todd Field (“In the Bedroom,” “Little Children”), keeps its own time beautifully. The movie runs a mesmerizing two hours and 38 minutes; I didn’t want it to end. It’s the story of a magnificent monster and her very public downfall, but what makes that downfall so persuasive is that it happens so gradually, and springs forth from some such quietly intimate roots. The story proceeds in carefully orchestrated movements, as it were, and each one of those movements draws us a little deeper into Lydia’s highly influential and rigidly hierarchical corner of the music world.
This is Field’s first movie in 16 years (and his first original screenplay, after two adaptations), and he unleashes what feels like close to a decade’s worth of pent-up, razor-sharp observations about the politics of the art world, the tensions of academia, the debate over cancel culture, the reckonings of #MeToo and, on a not-unrelated note, the ascendancy of women in creative and professional spaces long dominated by white men. And in this space, Lydia refuses — arrogantly, maddeningly and sometimes heroically — to bow to what she sees as prevailing liberal orthodoxies. Hailed as the first woman to conduct one of the world’s great orchestras, she nonetheless dismisses gender inequality as a significant deterrent to her success.
To play Lydia, Blanchett learned to speak German, play the piano and conduct music, but the brilliance of her work goes beyond the conventions of study, practice and research. It takes an actor who can seem, as Blanchett does, like both a gifted orchestrator and a finely tuned instrument in the same instance.
49th Telluride Film Festival – A Tribute to Cate Blanchett
Decades from now when historians are grasping to understand what “cancel culture” meant, they will turn to TAR. Actors, meanwhile, will still be studying Cate Blanchett’s best performance. This isn’t even a movie as much as a world that she just…inhabits. Remarkable. #telluride
TÁR is a mesmerizing work of art from Todd Field about the descent of a world famous conductor. Impeccably shot, edited & written. Cate Blanchett’s spellbinding performance commands your attention & suffers no fools. She’s simply operating on a level few others are. Astonishing! pic.twitter.com/0S6F6nLhOQ
There is life before TÁR and life after TÁR! Hands down my new favorite film of the year. A truly transcendent experience with an all time great performance by Cate Blanchett! It is so nice to have Todd Field back in the film world. #TellurideFilmFestivalpic.twitter.com/hpMDcHtWEy
Clips from DON'T LOOK UP (2021), VERONICA GUERIN (2003), BANDITS (2001), ELIZABETH (1998), I'M NOT THERE (2007), NOTES ON A SCANDAL (2004), CAROL (2015), BLUE JASMINE (2014) and THE AVIATOR (2004) https://t.co/VMz4sw0T3Dpic.twitter.com/wOy3lY1NPy
Today I saw Frances McDormand in a concessions line before a screening; eight hour later, Cate Blanchett gets a tribute award at #telluride. Between the three of us, we have five Oscars!! (Ps. CB will get another nom for #TAR). pic.twitter.com/cF9ShlCYjh
Cate Blanchett’s performance in TÁR is one of her best. Todd Field’s direction alongside Florian Hoffmeister’s cinematography are spectacular. This is by far the most excellently-crafted film and my favorite of the 49th #TellurideFilmFestival this far. pic.twitter.com/Q1BYqX8JnV
The brilliant and beautiful Cate Blanchett after Todd Field’s TÁR, which is a knockout. More on that soon (after I come back down to planet earth), but this is one of the best films I’ve seen all year (and my favorite thing in the #Telluride line-up so far). pic.twitter.com/dWdDjxJnQi
Attended the Focus Features brunch for #TAR & #ArmageddonTime. Cate Blanchett: approachable & lovely. Jeremy Strong and I talked at length about his performance in AT. Also pictured Todd Field (cap with Cate). Not pictured: James Gray, a literal fountain of cinematic knowledge. pic.twitter.com/hmCGqE0ML2
Cate Blanchett is now at Telluride, Colorado for the US premiere of TÁR and tribute from Telluride Film Festival. She is with Nina Hoss, who plays Sharon Goodnow, her partner in the movie, and director Todd Field. They took the traditional festival class photo with all the filmmakers who have films on the festival’s lineup.
TÁR, which stars Cate Blanchett as a high-profile orchestra conductor, will get an additional spotlight when Blanchett receives a tribute at the festival. “We could have tributed her a thousand times over from Elizabeth on, and the timing has not worked out ever, but in a way I’m kind of glad that this is the one because, to me, this is her best performance ever,” Julie Huntsinger (Telluride Film Festival executive director) says.
TIFF (Toronto International Film Festival) has released their schedule. Documentary Now! premieres on September 10th at 9:15pm. Watch the trailer below.
Three new episodes from season four of the mockumentary series Documentary Now! — created by SNL alumni Bill Hader, Seth Meyers, Fred Armisen, and Rhys Thomas — receive their World Premiere.
In this world premiere, TIFF audiences will be the first to see three episodes from the upcoming season of Documentary Now! First up is a take on My Octopus Teacher, only this version stars English comedian Jamie Demetriou (Fleabag) as an animal-obsessed filmmaker in the episode titled “My Monkey Grifter.” Second is a warm-hearted homage to Agnès Varda, starring French actor Liliane Rovère (Call My Agent) portraying an aging director trying to recapture the thrills of her youth in “Trouver Frisson.” Third is a pet project of Cate Blanchett, who fell in love with the 1990s BBC documentary Three Salons at the Seaside, which she and co-star Harriet Walter fondly lampoon in “Two Hairdressers at Bagglyport,” about a beauty parlour full of secrets (that simultaneously evokes the Anna Wintour/Vogue doc The September Issue).
— Thom Powers, TIFF Docs Programmer
Documentary Now! TIFF Schedule. Click image to book tickets. Tickets go on sale for public on September 5th
According to La Biennale, press conference begins approximately at 11AM CEST. There will be two films in competition on September 1st, TÁR being the first to premiere. Todd Field has also released a director’s statement on La Biennale’s website about TÁR.
This script was written for one artist, Cate Blanchett. Had she said no, the film would have never seen the light of day. Filmgoers, amateur and otherwise, will not be surprised by this. After all, she is a master supreme.
Even so, while we were making the picture, the superhuman-skill and verisimilitude of Cate was something truly astounding to behold. She raised all boats. The privilege of collaborating with an artist of this caliber is something impossible to adequately describe.
In every possible way this is Cate’s film.
Another video from Armani Beauty for their LIP MAESTRO Campaign has been released, this time Cate Blanchett wears shade 214 of the lipstick. We also have magazine scans from Oggi No. 34 issue.
A full length trailer for TÁR was recently rated and the length of the trailer is 2 minutes and 25 seconds. It will likely be released this week or the week after which coincides with the world premiere of the movie at Venice Film Festival.
LIP MAESTRO Shade 214
Below is a part of the magazine article that is a google translated version from Italian to English. Original text can be found on the scans.
CATE THE WOMAN WHO LOVES WOMEN
At the Venice Film Festival, Blanchett will play Lydia Tár, a conductor who falls in love with two musicians. For other performances as a lesbian she has become a gay icon. But she says: “I also played an elf, yet I’m not immortal”.
Ferragamo shoes, tailor-made suits, scarf, Van Cleef & Arpels jewels, vintage handbag on the arm, chic, unresolved and courageous, yet also revolutionary: Cate Blanchett in Carol is a bourgeois close to divorce who falls in love with a saleslady, aspiring photographer, Therese, in the 50s. No wonder that they are waiting for her at the Venice Film Festival (31 August – 10 September): critics and cinephiles and the LGBTQ + community – all of them curious and anxious for her new film Tár, in competition at #Venezia79. Blanchett is Lydia Tár, one of the greatest conductors in the world and certainly the greatest in Germany. The environment is competitive and male chauvinistic. She must always prove that she is good, that she is up to the role, that she really knows the music. Plus she falls in love with two musicians. The trailer, recently posted on the web, does not speak of all this. On the contrary, it speaks of a pandemic, of bees, of the challenges that await us. There is no life of Lydia Tár who in the trailer dresses simple, in light green and appears unadorned, the opposite of Carol, with her wavy hairstyle. Biennale Cinema keep their mouths sewn together, but there is certainly this – that Blanchett will be very good in this new role of hers with (also) a homosexual theme.
Blanchett has been a gay icon since Carol’s day, very proud of it. When she posed with Nicole Kidman in a jacket and boyish pants in 2019, the web appreciated it a lot, they had butterflies in their stomachs, loving what is called her “lesbian aesthetics”. In a video from 2020, Blanchett jokingly said aloud: “I’m a lesbian.”. It happened during Instagram live with Sarah Paulson, a pansexual, star of American Horror Story, and co-star in Mrs America. Moreover, speaking of Mrs America (which tells the story of the US feminist movement), Blanchett has remained a gay icon, although in the series she plays the ultraconservative, Phyllis Schlafly, married for 44 years to the same man and mother of six children. Practically it is the only point of contact between the two. Blanchett has been married since 1997 (25 years of marriage) to playwright Andrew Upton, a bearded gentleman who looks like everyone’s neighbor, they have four children and live at Highwell House. They also have a wing dedicated to their art collection. One of the many times she was asked about her marriage, she replied: “With my husband I won the lottery and consequently with my family.”
It has been announced that three episodes of Documentary Now! season 4 is part of the Toronto International Film Festival (TIFF) Docs lineup. Also, check out another video from Armani Beauty for their LIP Maestro ad.
Documentary Now! at TIFF
One of the Documentary Now! episodes premiering at TIFF is Two Hairdressers of Bagglyport, which stars Cate Blanchett as a salon staff and Harriet Walter as the salon owner. The festival will run from September 8th to 18th with tickets for general public to go on sale on September 5th, full schedule will be released on August 23rd.
In a whimsical touch, Thom Powers (TIFF Docs Programmer) has tucked something unexpected into the TIFF nonfiction slate—episodes from the upcoming new season of Documentary Now!, the IFC comedy series created by Fred Armisen, Bill Hader, Seth Myers and Rhys Thomas that lovingly parodies the earnest rigor of documentarians and the documentary form.
“We’re going to be previewing three new episodes from season 4,” Powers says. “One of those episodes is called My Monkey Grifter, which is a take on My Octopus Teacher, with the British actor Jamie Demetriou who people will know from Fleabag and other shows. Fred Armisen also makes an appearance in My Monkey Grifter. The second episode is a really warmhearted homage to Agnès Varda, starring the French actress Liliane Rovère, who fans of Call My Agent! will know as the endearing older agent in that series. And she is just pitch perfect as Agnès Varda in that episode. And the third episode is a pet project of Cate Blanchett, who has previously appeared on Documentary Now! And we’re expecting several of the people involved with these episodes to be at TIFF.”
Powers continues, “To have Documentary Now! as part of the [TIFF] selection not only brings a smile to our face, but [the show] is also just such a deeply researched and deeply appreciative reverie about documentary filmmaking that I couldn’t resist inviting it to be part of the program.”
Biennale Cinema has released the full schedule for this year’s film festival. TÁR will have two public screenings on September 1st — at 17:15 (Sala Grande), which marks its world premiere, and 19:00 (Palabiennale). Earliest screening is on August 31st for press and industry members only. The ticket will go on sale at 15:00 (Venice time), August 17th. You can go here to book tickets and you can check the screening schedule below.
The movie is also competing for Queer Lion’s 16th Edition. The Queer Lion Award was created as a collateral prize for the “Best Film with Homosexual & Queer Culture Contents”. Here’s an updated synopsis of the movie:
Lydia Tár is an acclaimed composer who rose to become the first female chief conductor of a German orchestra. We follow Tár during her daily life living in Berlin, leading up to the recording of her latest symphony, while her sentimental life (including a complicated tormented affair with a female cellist) clashes with and threatens her burning ambitions. Tár’s adopted daughter, the exeptionally brilliant six-year-old Petra, will turn out to be the rock Lydia needs, when everything in her life seems to start going wrong.
Cate has sent another short message as ambassador of UK/AU Season.
We finally have a teaser for TÁR which is set to premiere at the 79th Venice Film Festival (running from August 31st-September 10th) and will be released in the US on October 7th 2022 and in the UK on January 20th 2023. The film has been selected as part of the main competition category of the festival. The other cast in the film are Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong. The films has a running time of 158 minutes. You can watch the enigmatic teaser below.
Privacy & Cookies Policy
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.