he great crack-up of Lydia Tár, the Berlin Philharmonic’s entirely fictitious but docudramatically real-seeming chief conductor, has given the cinema its greatest spectacle, its greatest provocation and its greatest pleasure. If there is any justice, it will be producer-director Todd Field, with fellow producers Alexandra Milchan and Scott Lambert, who will be invited up on stage at the end of the evening to receive the climactic best picture statuette.
Lydia is preparing a long-planned live recording of Mahler’s Fifth Symphony, a project apparently delayed by the Covid lockdown, that is of overwhelming importance to her. But she has problems in her life.
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