According to Tar composer Hildur Guðnadóttir, the film has a happy ending

Spoilers for the endings of “The Vault” and “Women Talking” below.

Few film endings this year have been as funny or ambiguous as the ending of Todd Field’s “Repository,” in which the title character (played by Cate Blanchett) was “fired” after it was revealed that he had inappropriate relationships with younger women while working as a conductor. live performances of the “Monster Hunter” video game score. The unexpected ending makes me laugh, but ever since the film was successfully presented at the Venice International Film Festival, critics and fans have been debating how the audience should interpret Tár’s final fate: as a final humiliation, as a reference to the final fate. a career resurrection for a monster, or a bittersweet happy ending that shows you will always have music in your life.

Hildur Guðnadóttir, the composer behind Lydia Tár’s original compositions, falls into the latter camp. At the Critics Choice Awards on Sunday, where she accepted the award for best score, Guðnadóttir spoke to IndieWire about the film and compared it to another nominee, “Women Talking.” Speaking about the ending of the films, which both focus on themes of sexual abuse and violence, Guðnadóttir said that both had opposite trajectories, with “Women Talking” more triumphant and “Tár” more of a descent, but said that the latter film it’s over. it made him feel sympathy and happiness for the complicated title character.

“It’s going in completely opposite directions, with ‘Women Talking’ being the rise and ‘Tár’ being the fall,” Guðnadóttir told IndieWire’s social media editor Veronica Flores on the red carpet. “But at the same time, at the end of “Tár” I was happy for him, that maybe he becomes more true to himself. Because he is a person who gets lost a lot. And in a way, even though he’s falling off the pedestal, I think there’s a sense of him finding his true self again, which is quite positive.”

Canadian director Sarah Polley’s Women Talking stars Rooney Mara, Claire Foy, Jessie Buckley and Judith Ivey as a group of women in an isolated Mennonite community who debate whether to leave or stay after the men from the village are drugged and raped. the colony for years. About scoring the film, Guðnadóttir said that her favorite part of working on the score was developing the piece used for the ending, where the women successfully escape from the community to a new life.

“I actually cried myself when I watched the first episode because I was so glad these women got out of Hell. I think it’s the first time I’ve done that, and I probably shouldn’t admit it publicly,” said Guðnadóttir. “Throughout the project, I felt very emotional for these women, and this moment really moved me for them.”

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