The film focuses on neither the abuser's manipulation, like Tár (dir. Todd Field, 2022), nor the survivor's recovery, like Sorry, Baby (dir. Eva Victor, 2025), but rather the disconnect between older and younger generations of feminists rooted in the different survival strategies each generation employs.
If you want to have a tough conversation, Sorry, Baby; May December; and yes, even Tár are movies that have tread similar hunting grounds with much more depth.
It was everything I wanted Todd Field’s TÁR to be, and more.
…who felt like she was desperately trying to make her version of TÁR without any of the dramatic, darkly comedic bite any of that film had.
Diet Lydia Tár muddies the whole film.
A scene of her dressing down a student who dares to weave today’s social issues into a philosophical debate, reminiscent of Cate Blanchett’s ripping a young man a new one during one of her masterclasses, is impressive but lacks the bite that Blanchett could bring to it through Field’s writing.