In a recent interview on her portrayal of a renowned (fictional) female conductor, the autocratic maestro Lydia Tár, Cate Blanchett noted ways in which orchestral music-making is not a democratic enterprise. Neither is film-making.
Written, directed and produced by Todd Field, the film courted controversy for situating a woman as the power-play sexual predator in a post-Weinstein world. At the start of the film, or even before the start, audiences noted something else distinctive about the film: that the full screen credit list, attributing the labour of the production, came before the film proper.
