“Beloved beings, from the moment you enter the vessel, there is no going back. The land you set foot on again will become the New Light. If you don’t have the courage, leave now and no one will judge you…”

With these phrases, the much-discussed film Tar, which tells the story of an experienced woman conductor, the first EGOT classics – a rare combination of all four awards, Emmy, Grammy, Oscar and Tony – and also about the first female chief conductor of the famous Berlin Philharmonic Orchestra, “domestic cat-lesbian” by her own statement, “father” – also by her own statement, one child and married to the first violin of the orchestra … to be thrown from her pedestal.

A new world with #metoo movements, all sorts of self-identity claims, political correctness and quotas for the employment of women makes its way through decisive traps for its downfall, which it falls into with characteristic ease during the film, from which everyone can choose from a rich thematic the range provided by the director for criticism or comment. With the ease of a man who dismisses as “noise” everything that is not related to his ultimate goal, he seems to have walked as a potential winner, not a quasi-victim.

Lydia Tarr is a rapist in the context of her behavior and the power her position as a conductor gives her over female colleagues or a student who chooses to reject Bach because the life of a musician is contrary to the ideals of a multiracial person. He becomes a victim, with the “help” of a randomly edited video that circulates on social networks in the context of “cancellation culture”, a modern form of social and even professional ostracism that falls on those who do not keep up with the postulates. political correctness, honest and honest offenders.

She becomes the last “victim” of all her “victims”, leaving, perhaps, a benevolent viewer in bewilderment: But … where did she make such a mistake? Isn’t it as absurd to reject Bach on the grounds that he “was macho” as to demand that white philosophers, including Plato and Descartes, be expelled from the university curriculum because they were “too masculine, too pale”? how it happened and is happening. in the major universities of the Western world? The Beckett Show was canceled because the main cast… were all men? “They don’t want to be serious,” wrote the British Daily Mail.

In a thematic range that includes cancellation culture, social media abuses, claims to self-determination of identity, the “women’s question” is central. Tara is betrayed and abandoned mostly by women.

Christa, her former protégé, after being kicked out of the faculty — “she was deeply troubled,” Tarr tells a scholarship fund representative and minor conductor — demands Tarr’s attention after severing those relationships with movements that, consciously or not, operate as emotional blackmail and eventually he kills himself. Francesca, her assistant and future conductor, who follows and tolerates—according to one interpretation—the cruel characteristics of a conductor, keeps emails with Christa until Tar tells her to delete them, and when the Maestro doesn’t give her the position she was hoping for. , he abandons her, betraying her with this. But aren’t your motives suspicious when you put yourself at the service of your boss’s every whim in the expectation of her own benefit, and betray her when it isn’t? The wife accuses her that all her life she is only concerned with her own benefit, and turns away from her. But don’t you have at least a share of responsibility when you endure and endure, as a husband, and as a wife the wife of a wife, everything that prompts you to leave her when she is too old to eat?

They all find the strength that comes with brutality when Thar is on his knees now. The manipulativeness and exploitation of which she is accused is opposed by those who tried to exploit her, but without the maestro’s obvious self-confidence. Those who affirm when external conditions make it easier. When the good social wind blows.

“The exaltation of the power of victims” and the absurdity that arises at the birth of otherwise just demands and claims.

“When it comes to gender bias, I have nothing to complain about,” says Tar of Blanchett. “Nor, for that matter, Natalie Stutzman, Lawrence Equilby, Marin Alsop or Joanne Falletta. There have been so many incredible women before us, women who have done real work.”

“The film touches me as a woman, as a conductor, and as a lesbian,” says Marin Alsop, who is closest to Blanchett’s personality in real life: both are “children” of Leonard Bernstein, married to fellow musicians in the orchestra, and lead prominent orchestras. . “The opportunity to play a woman in this role and make her a rapist – for me it was heartbreaking,” Alson said. “I think all women and all feminists should be concerned about this portrayal. There are so many men — real, documented men — that this movie could have been based on, but instead it gives the woman a role, but gives her all the characteristics of those men. It seems anti-feminine.” Is; Feminism is not an elitist club that admits into its bosom carriers/carriers of guaranteed characteristics of standards, but a social necessity. Is it possible to interpret the internal conflicts and internal motivations of people in the film as a movement, or even “banned” because of it?

René Girard, in his book “I See Satan Fall Like Lightning,” wrote that there is a value that “dominates all planetary culture,” far greater than technological progress or economic development: “interest in sacrifice.” “Globalization,” he argued, “is only a secondary economic phenomenon.” Essentially, this is driven by what he calls “the rise of ‘victim power'”. In other words, “the power of the victims.”

“Beloved beings, from the moment you enter the vessel, there is no going back. The land you set foot on again will become the New Light. If you don’t have the courage, leave now and no one will judge you…”

Let’s go, but… where to go? Whatever questions the “rise of victim power” raises and the absurdity that arises from the birth of otherwise just claims and claims, this world, the Western world of rights and claims, is the best we have. On the other hand… the one expressed by Putin.