Todd Field’s 2022 film TÁR is a masterclass in cinematic storytelling, not only through its narrative and performances but also through its meticulous use of architecture and interior design. Set primarily in Berlin, the film uses the city’s architectural landscape to mirror the psychological complexity of its protagonist, Lydia Tár, portrayed by Cate Blanchett. The interplay between space and character offers a profound commentary on power, isolation, and the modern human condition.
Berlin: A City of Contrasts
I have visited Berlin a couple of times, and for me, the city is a rich tapestry of historical and modern architecture. In TÁR, as expected, the city serves as more than just a backdrop; it becomes a character in its own right. The city’s architectural diversity, from Brutalist structures to sleek modernist designs, reflects Lydia Tár’s multifaceted personality and the dualities she embodies: tradition versus innovation, public persona versus private self, and control versus chaos.
Production designer Marco Bittner Rosser utilised Berlin’s architectural landscape to enhance the film’s narrative. He noted that the film is “a world of very graphic, clean, mostly modern architecture,” with settings like the Concert Hall and the Lincoln Centre being staged in Berlin locations that boast mid-century architecture.
Lydia Tár’s Apartment: A Reflection of Self
One of the most striking settings in the film is Lydia Tár’s Berlin apartment. Situated above a former WWII bunker turned art gallery, the apartment is a Brutalist marvel. Its raw concrete walls and minimalist design echo Lydia’s austere and controlled demeanour. The space is adorned with high-end furnishings, including leather seating by Oscar Niemeyer and elaborate light fixtures, reflecting her status and refined taste.
The apartment’s design also serves as a metaphor for Lydia’s psychological state. The fortress-like structure symbolises her desire for control and isolation, while the floor-to-ceiling windows suggest a vulnerability and exposure to the outside world.
Juxtaposition of Spaces: Public vs. Private
The film meticulously contrasts Lydia’s public and private spaces to underscore her internal conflicts. Her professional environments, concert halls, rehearsal spaces, and academic institutions are depicted with grandeur and formality, emphasising her authority and command. In contrast, her private spaces, including her apartment and personal study, are stark and minimalist, highlighting her solitude and the emotional void in her personal life.
This dichotomy is further accentuated by the film’s lighting and colour palette. Public spaces are often bathed in warm, golden hues, symbolising prestige and admiration, while private spaces are rendered in cooler tones, reflecting detachment and introspection.
Cultural and Social Commentary
TÁR delves into themes of power dynamics, gender roles, and the complexities of the #MeToo era. The architectural settings reinforce these themes by situating Lydia in traditionally male-dominated spaces of authority and influence. Her navigation through these spaces underscores the challenges faced by women in positions of power and the scrutiny they endure.
Moreover, the film’s depiction of Berlin, a city that has undergone significant transformation and modernisation, parallels Lydia’s own journey and the evolving landscape of classical music and its institutions.
In TÁR, architecture is not merely a backdrop but a narrative device that enriches the film’s exploration of character, power, and identity. Through its thoughtful portrayal of Berlin’s architectural landscape, the film offers a compelling visual and thematic experience that resonates with contemporary societal issues.
