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What might a glimpse of that possibility do to a mind like Lydia Tár’s? At a massage parlor in that unnamed Asian city, she stands before a chamber, the “fishbowl,” in which a score of young women await selection, an overt enactment of the subtle power dynamic Lydia has been taking advantage of for years. And now a future exists in which she never has that opportunity, in which Mahler’s Fifth is missing from her career just like its score is from her shelf, all thanks to a ghost from her past. It is for this sublime symphony that Lydia has worked, fought, seduced, acceded, betrayed, loved.

This is, after all, what she long dreamed would be the crowning moment in her career. And maybe we are not quite meant to believe it. Maybe what they mean is that it’s unbelievable.

More than one critic has noted how unusually melodramatic this moment seems. He pays her no mind, not even as she rushes the stage, tackling the hack they’ve brought in to replace her. And now, somehow, we are backstage at the climactic performance, and somehow Lydia is there too, standing next to the trumpeter while he fanfares. She loses her position, loses her chance at the Fifth. Sharon kicks her out and withholds their daughter. Olga abandons her at her hotel for someone more fun. Protesters picket her poorly attended reading in New York. We are in Lydia Tár’s point of view now, in her subjective space, and all is unraveling with shocking speed, including possibly her mind. She loses the support of her foundation, her access to a private jet. Her performance score for Mahler’s Fifth disappears without explanation. A story in the New York Post accuses her of grooming multiple young women. “Right from the first moment, I know exactly what time it is,” she says, with supreme confidence, “and the exact moment that you and I will arrive at our destination together.” In the film’s final act, Lydia loses that right arm, loses her confident control over time, and a film that was up till now conducted at adagietto, like the slow movement of Mahler’s Fifth, picks up.Ī video of a charged encounter at Juilliard goes viral, oddly edited from multiple perspectives, even though no one in that rehearsal room seemed to have a phone out. It’s that right arm, Lydia tells Adam Gopnik at the film’s beginning, that marks time.

Dead space downfall full movie google drive