How this opening scene plays out tells you everything you need to know about the next two-plus hours. Something related to time or turning back to something thought forgotten in the past is going to occur (teshuvah), and that will trigger the need for repentance (kavanagh). There’s also this wrinkle, which gives the game away. When Lydia Tár mentions “kavanagh” in her interview, she quickly adds that “to this audience that word might mean something else.” By this she means that they audience will probably think of Supreme Court Justice Brett Kavanaugh. As if on cue, the audience lustily boos.
Regular readers of The Stream know that I have spent the last few years writing about the Kavanaugh battle and my involvement in it that sprang from my friendship with Brett going back to high school. I won’t rehash it here. You can read about it in my forthcoming book. I can only say that it was a bit bizarre to step into a movie theater to see a well-acted drama and hear Mahler’s Ninth Symphony only to be confronted with a hostile New York audience booing my high school buddy, who was falsely accused of sexual assault.
The booing scene instantly made clear what I was about to watch. Tár would be another angry story about what heartless monsters conservatives are.
Hollywood just can’t help embedding a leftist sucker punch.