Dvir971
Joined Oct 2009
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Dvir971's rating
Director and writer Ryan Coogler shared that some of his most vivid cinematic memories come from watching horror films in theaters as a young man - experiences that sparked his deep love for cinema. According to him, "Sinners" is a kind of love letter to that feeling, crafted with the hope that viewers in theaters will experience the same thrill. And honestly? Mission accomplished.
"Sinners" is one of those films best experienced with as little prior knowledge as possible - we strongly recommend not reading anything, not watching trailers, and avoiding all conversations about it beforehand if you can. The film's plot flows with organic ease, taking unexpected and refreshing turns that hit especially well if you go in spoiler-free. So we'll steer clear of plot details here, too.
The initial inspiration behind the film came from Coogler's connection to his late uncle, James, who had a deep interest in music and history, particularly in the Mississippi blues tradition. James's stories and musical tastes left a lasting impression on Coogler and sparked the creative process that ultimately became this film. As you might guess, "Sinners"is at its core a musical film. Not in the sense of a musical or a movie with original songs woven in like "Django Unchained" - rather, music is part of "Sinners"' DNA. It's interwoven into the story, the characters, and the entire atmosphere, offering a unique lens on the culture, folklore, traditions, and struggles of the Black community in 1930s Mississippi.
The man behind the original score is the multi-talented Ludwig Göransson ("Oppenheimer", "Tenet", "Black Panther"), who, beyond being a top-tier music producer, continually reinvents himself with every project he touches. "Sinners" is no exception. In his relatively short but rich career, Göransson has produced electronic scores, orchestral compositions, and even rap and R&B. Here, he pivots once again - blending the score with musical production in an inspired exploration of the Blues and Country genres, in line with the film's tone. Traditional sounds, ambient textures, and gritty audio design are all used to balance the experience.
It's undoubtedly one of the finest soundtracks we've heard in recent years - one that elevates the film to another level. Göransson continues to prove himself as one of the most gifted musicians of our era, and it's no wonder that none other than Christopher Nolan chose him as his go-to composer, following Hans Zimmer. In "Sinners", the soundtrack also features live performances and original songs, and a separate album has even been released featuring both songs from the film and those inspired by it.
Visually, Coogler made a bold artistic choice - one reminiscent of cinema's greatest auteurs, like Nolan and Denis Villeneuve - to shoot the film using wide-format film stock, opting for analog cinematography. Specifically, the most grand and pure formats available: IMAX 15-perf 70mm and Ultra Panavision 70mm. This wasn't just an aesthetic decision, but an effort to merge the raw texture of classic cinema with the sheer visual power of modern technology - a symbolic gesture aligning with the themes the film explores. Coogler even sought guidance from Nolan himself, along with Emma Thomas, to master the use of these formats - not for bragging rights, but to amplify the film's emotional weight.
Another standout aspect of the film is the screenplay. It's written with a natural rhythm and flow, featuring smart, unexpected humor and effortlessly blending a range of genres. Coogler, who served as both writer and director, brings the script to life with mastery, drawing the best out of each genre he touches. Above all, his use of the IMAX format is impressively deliberate and effective.
Michael B. Jordan plays two distinct characters in the film - and not in a gimmicky or disconnected way. These characters interact constantly - they're twins - which makes for a serious acting challenge. Jordan rises to the occasion, and the visual effects team behind the scenes pulls it off beautifully, with impressive execution on every technical level. Visually, the film is nothing short of stunning.
Alongside Jordan, musician Miles Caton gives a remarkably strong performance in the second lead role. I was genuinely surprised to learn this was his first-ever acting role. Jack O'Connell is also outstanding, and the radiant Hailee Steinfeld dazzles on screen and delivers a compelling performance. While she doesn't sing in the film itself, she is featured on the movie's official soundtrack. Overall, the cast is excellent, and the chemistry is on point.
Every few months, there comes along an event film that simply must be seen - and "Sinners" is unquestionably one of them. It's one of the best films we've seen in recent memory: energetic, gripping, occasionally funny, with a sharp script, top-tier directing, brilliant performances, and musical ingenuity that stuns scene after scene. It has all the makings of a strong contender for film of the year. We highly recommend watching it in theaters - in the best auditorium you can find. IMAX, if possible, is absolutely the way to go.
Written by Dvir971 & Orr971.
"Sinners" is one of those films best experienced with as little prior knowledge as possible - we strongly recommend not reading anything, not watching trailers, and avoiding all conversations about it beforehand if you can. The film's plot flows with organic ease, taking unexpected and refreshing turns that hit especially well if you go in spoiler-free. So we'll steer clear of plot details here, too.
The initial inspiration behind the film came from Coogler's connection to his late uncle, James, who had a deep interest in music and history, particularly in the Mississippi blues tradition. James's stories and musical tastes left a lasting impression on Coogler and sparked the creative process that ultimately became this film. As you might guess, "Sinners"is at its core a musical film. Not in the sense of a musical or a movie with original songs woven in like "Django Unchained" - rather, music is part of "Sinners"' DNA. It's interwoven into the story, the characters, and the entire atmosphere, offering a unique lens on the culture, folklore, traditions, and struggles of the Black community in 1930s Mississippi.
The man behind the original score is the multi-talented Ludwig Göransson ("Oppenheimer", "Tenet", "Black Panther"), who, beyond being a top-tier music producer, continually reinvents himself with every project he touches. "Sinners" is no exception. In his relatively short but rich career, Göransson has produced electronic scores, orchestral compositions, and even rap and R&B. Here, he pivots once again - blending the score with musical production in an inspired exploration of the Blues and Country genres, in line with the film's tone. Traditional sounds, ambient textures, and gritty audio design are all used to balance the experience.
It's undoubtedly one of the finest soundtracks we've heard in recent years - one that elevates the film to another level. Göransson continues to prove himself as one of the most gifted musicians of our era, and it's no wonder that none other than Christopher Nolan chose him as his go-to composer, following Hans Zimmer. In "Sinners", the soundtrack also features live performances and original songs, and a separate album has even been released featuring both songs from the film and those inspired by it.
Visually, Coogler made a bold artistic choice - one reminiscent of cinema's greatest auteurs, like Nolan and Denis Villeneuve - to shoot the film using wide-format film stock, opting for analog cinematography. Specifically, the most grand and pure formats available: IMAX 15-perf 70mm and Ultra Panavision 70mm. This wasn't just an aesthetic decision, but an effort to merge the raw texture of classic cinema with the sheer visual power of modern technology - a symbolic gesture aligning with the themes the film explores. Coogler even sought guidance from Nolan himself, along with Emma Thomas, to master the use of these formats - not for bragging rights, but to amplify the film's emotional weight.
Another standout aspect of the film is the screenplay. It's written with a natural rhythm and flow, featuring smart, unexpected humor and effortlessly blending a range of genres. Coogler, who served as both writer and director, brings the script to life with mastery, drawing the best out of each genre he touches. Above all, his use of the IMAX format is impressively deliberate and effective.
Michael B. Jordan plays two distinct characters in the film - and not in a gimmicky or disconnected way. These characters interact constantly - they're twins - which makes for a serious acting challenge. Jordan rises to the occasion, and the visual effects team behind the scenes pulls it off beautifully, with impressive execution on every technical level. Visually, the film is nothing short of stunning.
Alongside Jordan, musician Miles Caton gives a remarkably strong performance in the second lead role. I was genuinely surprised to learn this was his first-ever acting role. Jack O'Connell is also outstanding, and the radiant Hailee Steinfeld dazzles on screen and delivers a compelling performance. While she doesn't sing in the film itself, she is featured on the movie's official soundtrack. Overall, the cast is excellent, and the chemistry is on point.
Every few months, there comes along an event film that simply must be seen - and "Sinners" is unquestionably one of them. It's one of the best films we've seen in recent memory: energetic, gripping, occasionally funny, with a sharp script, top-tier directing, brilliant performances, and musical ingenuity that stuns scene after scene. It has all the makings of a strong contender for film of the year. We highly recommend watching it in theaters - in the best auditorium you can find. IMAX, if possible, is absolutely the way to go.
Written by Dvir971 & Orr971.
While in my personal opinion it is still not a "perfect" film, one cannot help but admire "The Brutalist"- one of the most important, impressive, and well-made films made in recent years.
The term "masterful" gets thrown around a lot these days, and I am guilty of overusing it myself, but Adrian Brody's performance in this film is nothing less than masterful in every sense of the word. The film runs nearly four hours, and for the vast majority of that time, Brody's face is on screen. He carries the film on his back in an incredibly impressive and charismatic way, delivering one of the best performances of his career-and certainly one of the finest in recent years. A second Oscar may very well be on the horizon. Guy Pearce, who has had plenty of outstanding performances throughout his career, gives what is likely his best performance ever in this film. His acting is extremely impressive, taking the viewer on an emotional rollercoaster, and I won't say more beyond that. Felicity Jones also gives an incredible performance that perhaps is not being talked about enough in the context of the immersive praise the movie is getting in all circles.
Recently, reports surfaced that AI was used to "enhance" the Hungarian accents of Adrian Brody and Felicity Jones, as well as to design some of the buildings shown in certain scenes. I don't want to dwell on this too much, but I will say that, in my view, AI should be kept out of artistic endeavors as much as possible. It's one thing if it's used behind the scenes for research and data gathering-but if it's something the audience directly experiences in the final product? Big no-no. Honestly, I was disappointed.
In many places, this film has been described as an "American Epic" and a modern classic-and rightfully so. It feels like an incredibly ambitious work, crafted with the highest quality, telling a very important story and meticulously structured. While I have other personal favorites from the past year, if, as some analysts predict and as certain early awards indicate, this film wins the Oscar for Best Picture, it would feel like a well-deserved victory-one that celebrates high-quality cinema made at the highest level. In fact, I believe this film could have easily been a five-star masterpiece, a title it has already received from many critics worldwide. However, one thing stands between it and that coveted label-its runtime.
Look, I am all for long movies. As someone who saw Oppenheimer six times in theaters and The Irishman twice in the same week it was released, I can confidently say that when done right, an extended runtime isn't a problem-it can even be amazing. But in this case, nearly four hours (!!) might have been a bit too much. Brady Corbet, for whom this film is one of his first full-length screenplays, may have fallen into the trap of keeping the script exactly as he envisioned it, without making the much-needed cuts that could have made it more accessible-and even improved it for a larger audience. The two films I mentioned earlier were written by screenwriters who are nothing short of masters of their craft (Christopher Nolan and Steven Zaillian, respectively), and they were structured so well that their runtimes were hardly felt. Even they didn't reach the length of this film. While The Brutalist has an undeniably excellent script, its astronomical runtime was definitely noticeable. I believe that even a slight edit-bringing it closer to the three-hour mark-could have worked wonders, creating a film that feels more cohesive and flows better, making it more inviting for repeat viewings like the films mentioned above.
The film, which revolves around an architect, innovatively weaves architectural design into its narrative. Production designer Judy Becker was responsible for crafting original buildings that fit both the era and the personality of the protagonist, László Tóth, a brutalist architect. Becker's designs serve as fascinating artistic expressions of Tóth's evolving and deeply conflicted identity, with the film's central project embodying both the spirit of brutalism and the film's core themes.
For this reason, the architecture in the film is far more than just a visual backdrop-it's an integral storytelling tool. Corbet, both as a director and screenwriter, handled this aspect exceptionally well and is highly likely to win an Oscar for it. Through this technique, he reflects Tóth's personal journey of loss, survival during one of the darkest periods in Jewish history, and the process of rebuilding after the Holocaust and World War II. With meticulous production design and impressive storytelling, the film uses architecture as a symbolic language, exploring how physical spaces can hold history, pain, and hope. Becker's work not only enhances the film's visual authenticity but also positions architecture as a key element in the protagonist's story of resilience-and, for those more knowledgeable about the field, at the very emotional core of the film. At least, until AI got involved.
The Brutalist is one of the most important films of recent years. With career-defining performances from Brody and Pearce, stunning direction and cinematography, an outstanding score, and a focus on urgent themes-particularly the growing antisemitism faced by Jews in the diaspora-I highly recommend everyone watch this film. While its runtime may be (and likely will be) exhausting for many viewers, don't let that stop you from experiencing this important work. It's the kind of film that will stay with you for days after watching.
The term "masterful" gets thrown around a lot these days, and I am guilty of overusing it myself, but Adrian Brody's performance in this film is nothing less than masterful in every sense of the word. The film runs nearly four hours, and for the vast majority of that time, Brody's face is on screen. He carries the film on his back in an incredibly impressive and charismatic way, delivering one of the best performances of his career-and certainly one of the finest in recent years. A second Oscar may very well be on the horizon. Guy Pearce, who has had plenty of outstanding performances throughout his career, gives what is likely his best performance ever in this film. His acting is extremely impressive, taking the viewer on an emotional rollercoaster, and I won't say more beyond that. Felicity Jones also gives an incredible performance that perhaps is not being talked about enough in the context of the immersive praise the movie is getting in all circles.
Recently, reports surfaced that AI was used to "enhance" the Hungarian accents of Adrian Brody and Felicity Jones, as well as to design some of the buildings shown in certain scenes. I don't want to dwell on this too much, but I will say that, in my view, AI should be kept out of artistic endeavors as much as possible. It's one thing if it's used behind the scenes for research and data gathering-but if it's something the audience directly experiences in the final product? Big no-no. Honestly, I was disappointed.
In many places, this film has been described as an "American Epic" and a modern classic-and rightfully so. It feels like an incredibly ambitious work, crafted with the highest quality, telling a very important story and meticulously structured. While I have other personal favorites from the past year, if, as some analysts predict and as certain early awards indicate, this film wins the Oscar for Best Picture, it would feel like a well-deserved victory-one that celebrates high-quality cinema made at the highest level. In fact, I believe this film could have easily been a five-star masterpiece, a title it has already received from many critics worldwide. However, one thing stands between it and that coveted label-its runtime.
Look, I am all for long movies. As someone who saw Oppenheimer six times in theaters and The Irishman twice in the same week it was released, I can confidently say that when done right, an extended runtime isn't a problem-it can even be amazing. But in this case, nearly four hours (!!) might have been a bit too much. Brady Corbet, for whom this film is one of his first full-length screenplays, may have fallen into the trap of keeping the script exactly as he envisioned it, without making the much-needed cuts that could have made it more accessible-and even improved it for a larger audience. The two films I mentioned earlier were written by screenwriters who are nothing short of masters of their craft (Christopher Nolan and Steven Zaillian, respectively), and they were structured so well that their runtimes were hardly felt. Even they didn't reach the length of this film. While The Brutalist has an undeniably excellent script, its astronomical runtime was definitely noticeable. I believe that even a slight edit-bringing it closer to the three-hour mark-could have worked wonders, creating a film that feels more cohesive and flows better, making it more inviting for repeat viewings like the films mentioned above.
The film, which revolves around an architect, innovatively weaves architectural design into its narrative. Production designer Judy Becker was responsible for crafting original buildings that fit both the era and the personality of the protagonist, László Tóth, a brutalist architect. Becker's designs serve as fascinating artistic expressions of Tóth's evolving and deeply conflicted identity, with the film's central project embodying both the spirit of brutalism and the film's core themes.
For this reason, the architecture in the film is far more than just a visual backdrop-it's an integral storytelling tool. Corbet, both as a director and screenwriter, handled this aspect exceptionally well and is highly likely to win an Oscar for it. Through this technique, he reflects Tóth's personal journey of loss, survival during one of the darkest periods in Jewish history, and the process of rebuilding after the Holocaust and World War II. With meticulous production design and impressive storytelling, the film uses architecture as a symbolic language, exploring how physical spaces can hold history, pain, and hope. Becker's work not only enhances the film's visual authenticity but also positions architecture as a key element in the protagonist's story of resilience-and, for those more knowledgeable about the field, at the very emotional core of the film. At least, until AI got involved.
The Brutalist is one of the most important films of recent years. With career-defining performances from Brody and Pearce, stunning direction and cinematography, an outstanding score, and a focus on urgent themes-particularly the growing antisemitism faced by Jews in the diaspora-I highly recommend everyone watch this film. While its runtime may be (and likely will be) exhausting for many viewers, don't let that stop you from experiencing this important work. It's the kind of film that will stay with you for days after watching.
I have some sort of a bias, which seems more and more unjustified in the past year, against biographical films about musicians, seeing them as overdone and repetitive. The year 2024 has brought quite a few such biopics and has proven that the genre is still alive and kicking, showing that innovative art can still emerge within it. A Complete Unknown, directed by James Mangold, is one of the most striking examples of this in recent years. It's a captivating and engrossing film, centered around a jaw-dropping performance and an excellent script.
The main reason to watch this film, and undoubtedly its most impressive and dominant aspect, is the phenomenal performance of Timothée Chalamet-one of the most prominent actors of recent years-who delivers the performance of his career. His acting is, in my view, brilliant, and it is entirely reasonable to consider Chalamet as a serious contender to become the youngest-ever winner of the Academy Award for Best Actor at the upcoming ceremony.
The supporting cast is doing a tremendous job as well. Edward Norton, who is one of my all-time favorite actors regardless, gives one of the best performances in his career and manages to be absolutely captivating and likable. Monica Barbaro gives an incredible performance as well, that makes her worthy of her Oscar nomination. Elle Fanning also shines in a somewhat underappreciated performance across different reviews and impressions I read.
For obvious reasons, the film features plenty of amazing music, performed with remarkable authenticity by the cast-something that undeniably enhances the viewing experience and further impresses with the level of effort from both the cast and the production.
But again- the driving force of the film is Chalamet's extraordinary performance that managed to impress me completely. Chalamet's preparation for his challenging role as Bob Dylan was incredibly deep and extensive, proving that he earned his status as one of the most dominant actors of his generation not just by having a likable face, but primarily due to immense talent and unwavering dedication to his craft. For five years, he immersed himself in Dylan's world and life, learning to play the guitar and harmonica to perform Dylan's music as authentically as possible. To "replicate" Dylan's unique voice, Chalamet worked with vocal coaches and meticulously trained to match Dylan's tone and distinct way of speaking, focusing on subtle nuances in his speech patterns that made his voice as iconic and recognizable as it is. It's worth noting that all of Dylan's music in the film is performed by Chalamet himself, and his dedication was evident in the fact that he performed around 40 Dylan songs live during filming, striving to capture the essence of Dylan's music and deliver as precise an interpretation as possible of one of the most unique musicians in modern music.
Chalamet's commitment allowed him to step into Dylan's shoes not only musically but also in terms of the energy that characterized Dylan's performances in the 1960s. Beyond voice and music, Chalamet studied archival footage, interviews, and documentaries to mimic Dylan's body language and mannerisms. He paid close attention to Dylan's walk, his nonchalant stage presence, and the way he interacted with the microphone and audience. Even Bob Dylan himself provided feedback and advice to Chalamet during the film's production and was very supportive.
Chalamet also deeply researched the cultural landscape of the 1960s, which inspired Dylan's lyrics. He visited Dylan's former residences in New York, spoke with people from his inner circle, and spent time in key locations from Dylan's early career to absorb the atmosphere and lifestyle that shaped his artistry. Chalamet's goal wasn't just to play Dylan as a historical figure but to understand his mindset, quirks, and the curiosity and worldview that drove him. It's no surprise that, despite the film being released in the U. S. only a few weeks ago, Chalamet has already received endless praise for his performance, won awards, and positioned himself as a serious (and well-deserved) contender for an Oscar win in just a few weeks. Even Dylan himself has praised Chalamet's portrayal.
The film is far from short, running at a hefty 140 minutes, but it moves swiftly and enjoyably. However, I believe it could have benefited from being slightly shorter, as there are a few moments that feel drawn out or unnecessary, and could have been trimmed to make the film more accessible to a wider audience. That being said, for the most part, the film is absolutely riveting, with many scenes that, despite their length, remain exciting from start to finish and feel like high-quality cinema. Additionally, even with its extended runtime, it serves as an exceptionally well-done character study, exploring Dylan's enigmatic persona and world in a way that highlights both his historical significance and influence on 1960s music and beyond-even for those who may not be deeply familiar with his music or story. If the real Dylan is pleased with the film, who am I to say otherwise?
The film's final act-without giving away spoilers-manages to be as powerful as intended, successfully illustrating and emphasizing the importance of artists who push the boundaries of music and dare to break free from the rigid categories often imposed on them by the public, the media, record labels, and even their most devoted fans. Many of them end up making history along the way. Where would we be without them?
A Complete Unknown is an immensely enjoyable biopic that manages to capture the atmosphere of the 1960s in a brilliant manner while presenting the story of one of the most important musicians of the previous century, while highlighting the importance of daring to break barriers in the music industry. With an awe-inspiring performance by Chalamet and the supporting cast, James Mangold managed to bring to life a magnificent film that I highly recommend- whether you are familiar with Dylan's music and legacy or not.
The main reason to watch this film, and undoubtedly its most impressive and dominant aspect, is the phenomenal performance of Timothée Chalamet-one of the most prominent actors of recent years-who delivers the performance of his career. His acting is, in my view, brilliant, and it is entirely reasonable to consider Chalamet as a serious contender to become the youngest-ever winner of the Academy Award for Best Actor at the upcoming ceremony.
The supporting cast is doing a tremendous job as well. Edward Norton, who is one of my all-time favorite actors regardless, gives one of the best performances in his career and manages to be absolutely captivating and likable. Monica Barbaro gives an incredible performance as well, that makes her worthy of her Oscar nomination. Elle Fanning also shines in a somewhat underappreciated performance across different reviews and impressions I read.
For obvious reasons, the film features plenty of amazing music, performed with remarkable authenticity by the cast-something that undeniably enhances the viewing experience and further impresses with the level of effort from both the cast and the production.
But again- the driving force of the film is Chalamet's extraordinary performance that managed to impress me completely. Chalamet's preparation for his challenging role as Bob Dylan was incredibly deep and extensive, proving that he earned his status as one of the most dominant actors of his generation not just by having a likable face, but primarily due to immense talent and unwavering dedication to his craft. For five years, he immersed himself in Dylan's world and life, learning to play the guitar and harmonica to perform Dylan's music as authentically as possible. To "replicate" Dylan's unique voice, Chalamet worked with vocal coaches and meticulously trained to match Dylan's tone and distinct way of speaking, focusing on subtle nuances in his speech patterns that made his voice as iconic and recognizable as it is. It's worth noting that all of Dylan's music in the film is performed by Chalamet himself, and his dedication was evident in the fact that he performed around 40 Dylan songs live during filming, striving to capture the essence of Dylan's music and deliver as precise an interpretation as possible of one of the most unique musicians in modern music.
Chalamet's commitment allowed him to step into Dylan's shoes not only musically but also in terms of the energy that characterized Dylan's performances in the 1960s. Beyond voice and music, Chalamet studied archival footage, interviews, and documentaries to mimic Dylan's body language and mannerisms. He paid close attention to Dylan's walk, his nonchalant stage presence, and the way he interacted with the microphone and audience. Even Bob Dylan himself provided feedback and advice to Chalamet during the film's production and was very supportive.
Chalamet also deeply researched the cultural landscape of the 1960s, which inspired Dylan's lyrics. He visited Dylan's former residences in New York, spoke with people from his inner circle, and spent time in key locations from Dylan's early career to absorb the atmosphere and lifestyle that shaped his artistry. Chalamet's goal wasn't just to play Dylan as a historical figure but to understand his mindset, quirks, and the curiosity and worldview that drove him. It's no surprise that, despite the film being released in the U. S. only a few weeks ago, Chalamet has already received endless praise for his performance, won awards, and positioned himself as a serious (and well-deserved) contender for an Oscar win in just a few weeks. Even Dylan himself has praised Chalamet's portrayal.
The film is far from short, running at a hefty 140 minutes, but it moves swiftly and enjoyably. However, I believe it could have benefited from being slightly shorter, as there are a few moments that feel drawn out or unnecessary, and could have been trimmed to make the film more accessible to a wider audience. That being said, for the most part, the film is absolutely riveting, with many scenes that, despite their length, remain exciting from start to finish and feel like high-quality cinema. Additionally, even with its extended runtime, it serves as an exceptionally well-done character study, exploring Dylan's enigmatic persona and world in a way that highlights both his historical significance and influence on 1960s music and beyond-even for those who may not be deeply familiar with his music or story. If the real Dylan is pleased with the film, who am I to say otherwise?
The film's final act-without giving away spoilers-manages to be as powerful as intended, successfully illustrating and emphasizing the importance of artists who push the boundaries of music and dare to break free from the rigid categories often imposed on them by the public, the media, record labels, and even their most devoted fans. Many of them end up making history along the way. Where would we be without them?
A Complete Unknown is an immensely enjoyable biopic that manages to capture the atmosphere of the 1960s in a brilliant manner while presenting the story of one of the most important musicians of the previous century, while highlighting the importance of daring to break barriers in the music industry. With an awe-inspiring performance by Chalamet and the supporting cast, James Mangold managed to bring to life a magnificent film that I highly recommend- whether you are familiar with Dylan's music and legacy or not.