Screening Existentialist Narcissism in Todd Field's Tár

Inspired by the writings of Jean-Paul Sartre, this article approaches Todd Field's Tár (2022) as an existentialist satire, in which humour is borne out by a conflict between bad faith and the way in which people can miss the truth about themselves by self-delusion. Commonly classified as a psychological backstage drama, many of the scenes in Tár rely on darkly humorous delight, deliberatively indulging in vindictive attitude that clashes with our basic moral feelings. This article analyses the aesthetic-affective conflicts in Tár manifesting themselves along the axis of seeing and being seen, as much of its protagonist's efforts are defined by how she wants to appear in the eyes of others and her sense of self based on narcissistic delusions. But she cannot control the field of vision organized by the others’ perceptions, and as soon as Tár starts recognizing herself in these various perceptions, her mental stability dissolves while her disavowed guilt takes the upper hand. The final part of the article discusses the ethical implications that result from the film positioning the spectators within the very experience of a morally inscrutable character.