The proliferation of documentaries on streaming services makes it difficult to choose what to watch. Each month, we select three nonfiction films — classics, overlooked recent docs and more — that will reward your time.

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In the new biopic “A Complete Unknown,” Timothée Chalamet becomes the latest movie star to impersonate Bob Dylan. (There were six Dylan avatars in Todd Haynes’s “I’m Not There” alone.) But documentaries have given us plenty of the singer himself. And while the more celebrated examples of the Dylan-mentary include D.A. Pennebaker’s “Dont Look Back” (1967) and two features from Martin Scorsese (“No Direction Home,” from 2005, and “Rolling Thunder Revue,” from 2019), the sleeper is Murray Lerner’s “The Other Side of the Mirror.”

Released in 2007, the film consists almost entirely of concert footage from the Newport Folk Festival in 1963, ’64 and ’65. At that last event Dylan touched the third rail of folk music by playing an electric guitar, in a performance that prompted boos from the audience — although whether the booing was a response to the transgression or the sound quality has been the subject of debate.

The spokeswoman, Liz Garcia, said the agents had been called to the agency’s Queens headquarters at the request of Sheriff Anthony Miranda, who was appointed by Mr. Adams. She said that on Wednesday, Mr. Miranda had discovered money that apparently was not properly accounted for.

The movie itself is good and loud, and its circumscribed structure makes it “remarkably pure,” as A.O. Scott wrote in The New York Times when it opened. It offers an opportunity to watch Dylan evolve as an artist in cinematic shorthand. Here is a chance not only to see him perform in close-up — or alongside Joan Baez, Pete Seeger, the Freedom Singers and Peter, Paul and Mary — but also to watch his persona change. At the end of his ’64 appearance, the audience begs for more, and he has to run onstage to calm them. “Time! It’s all like a matter of time, they say,” he says, explaining why he has to go, adding, “I want to say thank you. I love you.”

Cut to 1965, and the good-natured, fan-pleasing Dylan is gone. Now, with that troublesome electric Fender Stratocaster, he’s singing that he “ain’t gonna work on Maggie’s farm no more” and in essence telling his worshipers, with “Like a Rolling Stone,” that they’re on their own. Then, in what plays like damage control, he returns with an acoustic guitar, and asks the audience to chip in (“An E harmonica, anybody? Just throw them all up”; cue the clatter of what sounds like multiple harmonicas hitting the stage). He then sings “Mr. Tambourine Man,” before hinting, with “It’s All Over Now, Baby Blue,” that the concertgoers won’t call the shots from now on.

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