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“The Fundraiser” is an apt title and concept for a short film follow-up to “Tár,” given that the movie charts Lydia’s downfall from a respected composer-conductor to a disgraced figure in the orchestra world. She could probably use a good fundraiser, as could “Tár.” Despite the mountains of critical acclaim it’s received, the movie has only made $5 million on a $35 million budget. Last month, The New York Times discussed it in the context of an article about how “Highbrow Films Aimed at Winning Oscars Are Losing Audiences.”
Like Martin Scorsese, I felt the clouds lift when I watched “Tár.” For me, it was the perfect antidote to the franchise films currently dominating at the box office, like “Avatar: The Way of Water,” which I’ve proudly managed to avoid seeing if only because I don’t want to give it my “vote” and line James Cameron’s pockets with more money. Field is an interesting filmmaker; this is the same actor-turned-director who told Tom Cruise the secret password, fidelio, in “Eyes Wide Shut” before he made “In the Bedroom.”
I don’t necessarily think “Tár” is the cure for what ails all modern cinema, though, and I can see how a film like this might alienate some viewers. The movie sets the viewer down in Lydia’s pretentious music world and expects you to keep up with what’s going on without over-explaining things. In some ways, “Tár” shows the increasing disconnect between casual moviegoers and the insular world of critics and film festivals, but maybe one way for it to bridge that gap is to get in on the shared-universe game in a tongue-in-cheek way. At the very least, “The Fundraiser” should be a nice little treat for “Tár” fans.
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