Once you get over the fact that A Complete Unknown isn’t like most biopics, the film becomes a blast to watch. It doesn’t extol the virtues of its hero, nor does it pretend to know who Dylan is at his core. Instead, the film relishes his enigma and puts forward his flaws alongside his genius. More importantly, it immerses audiences into the world surrounding Dylan—political and musical. This being a film about one of the most significant musicians in American history, it makes sense that the best parts of the film are the musical performances. The fact that the actors all use their own voices and play the instruments adds to the film’s verisimilitude (Monica Barbaro as Joan Baez is an outstanding highlight). Many parts of it are frustrating, to be sure. It can get trope-heavy, for instance, when Dylan is framed as the lonely tortured genius and the women around his adoring muses. And instinct will make us want to look for backstory. But as Dylan and his ‘60s peers would’ve probably put it, it’s all in the music, man. Just listen to the music, and you’ll find what you’re looking for.

The musical performances. Barbaro is mesmerizing as Baez, her voice at once syrupy and piercing. And Chalamet’s version of Dylan’s best hits is pretty wild to watch. Though he never disappears into his role (both Chalamet and Dylan are too iconic/distinguishable to ever seem as one), his musical renditions are impressive.