It's not Just the same story seen from different point of views, it's the same story in which people act and behave every time with different attitudes according to Who Is watching and his or Her fears, feelings or expectations

With his epilogue, Scorsese offers salient commentary on how mainstream entertainment has — to ensure white comfort — frequently sanitized such brutality against Native Americans, and how this specific tale has been reduced to an oft-forgotten footnote in the pages of white supremacy.

In concept, the idea of a director centering himself during a film's emotional denouement echoes the prototypical image of an ego-driven auteur. However, there's a knowing and mournful humility to Scorsese's performance here, which warps the film's most farcical scene into its most poignant.

Haigh tells this potentially maudlin story with such a light touch that even its biggest reveals hit like a velvet hammer, and his screenplay so movingly echoes Adam’s yearning to be known — across time and space — that the film always feels rooted in his emotional present, even as it pings back and forth between dimensions.

And so Haigh, in rather overt terms, slowly begins to recontextualize Adam’s sexuality as more of a conduit for his despondency than a root cause, leveraging a personal story about the consequences of keeping pain out into a primordial one about the catharsis of letting it in

“All of Us Strangers” does too, and it never shies away from how hard it can be to start again, especially once Harry begins to struggle with his own advice

By creating a character who can’t be written off as another predictably problematic man, “Tár” draws our attention to how Lydia learned to become one. And, by following Lydia closely, the film relieves the audience of a neurotic cultural obsession with the artistic legacies of real-life powerful figures, focussing instead on their tools. In lieu of asking “Can you separate the art from the artist?” or “But what will happen to these poor, bad men?,” “Tár” asks, “What does power look like, feel like, not only within an institution but within an individual psyche?”

At nineteen, I wrote in a private journal that “the knowledge that anything I feel has already been expressed in a work of art” was my version of feeling watched over by a higher power.

I do not mean to suggest that art works can be divorced from social context, only that our reactions to them are not, in themselves, public statements, acts of harm, or good deeds.

The trouble with being a woman and making your art look so natural is that the world believes you unaware of your own magic; you’re less skilled artist than unaware naif merely happening upon great talent.

The Many Lives of Marilyn Monroe author Sarah Churchwell argues that storytellers too easily evade the ethical question about Monroe’s representation. “Marilyn was not only a fiction; she was not simply an icon,” she writes. “And it is wishful thinking to believe that focusing exclusively on the surface does anything but make her superficial.” Blonde, for all its posturing and virtuoso stylings, shores up a mythology — in death, Monroe remains a vessel into which directors and actors can pour their ideas about the entertainment industry and the broader patriarchy, female beauty and female image-making.