Music films don’t get much respect — most of the older ones are basically brand extensions, and many of the new ones are extended ads. These days, most biopics and “rockumentaries” are made at least partly to introduce older artists to a new generation and boost their stream counts in the process. Considering these constraints, as well as those imposed by songwriters and artists in exchange for the use of their work, it’s amazing that the best music films — think D.A. Pennebaker’s 1967 Bob Dylan documentary, Don’t Look Back, and Martin Scorsese’s 1978 swan song for The Band, The Last Waltz, as well as the best concert films — are as good as they are.

We now live in a golden age of music documentaries — as well as a glut. It’s never been more practical to make a cool documentary like What

See Full Page