Photo Illustration by Thomas Levinson/The Daily Beast/Getty/Focus Features
As Nina Hoss sinks into a plush hotel seat, porcelain teacup and saucer balanced in her hands as she speaks, it feels like we’re in a scene of Tár together. Here she is: Sharon Goodknow, the concertmaster of the Berlin Symphony Orchestra, participating in a press junket to chat about her wife, renowned conductor Lydia Tár (Cate Blanchett). Even the cloudy New York skyline participates, sprinkling the city with rain once every hour.
“It reminds me of Berlin,” Hoss chirps.
Somewhere in the city, the New Yorker’s Adam Gopnik is probably launching into some intellectual conversation as a part of this year’s New Yorker Festival, which is currently underway. It’s just like the opening scene of Todd Field’s Tár—Gopnik, playing himself, interviews Lydia about her upcoming recording of Mahler’s No. 5. The scene feels so true to life, one might feel the urge to Google search “Lydia Tár real story?” after seeing the film.