I would be lying if I said I wasn’t a little in love with Townes Van Zandt after Be Here to Love Me ended. The beautiful thing about Van Zandt is that he quietly requested my love, without seeming entitled to it.

No one wants to watch another talking heads documentary about an unknown musician and how his one hit song inspired millions, and thank god this does not fall into that category. His life is simply depicted through live performance clips, interviews with friends and family, and home movies that blend seamlessly with newcomer Margaret Brown’s own footage. The home movies in particular show the naked vulnerability of a man who did not want to be famous, did not want to be adored, but in the flashing moments that he was, enjoyed it in the way an awkward teenage boy might enjoy dancing with the hot English teacher at prom.

The film focuses on Van Zandt’s writing process and how it affected his personal relationships, but adds a healthy dose of nostalgic multigenerational music folklore including interviews with Steve Shelley and Kris Kristofferson. While some of the interviews at first seem overly staged, they turn into focused confessions of admiration and loyalty. No matter what they’re talking about the speakers reflect the profound sincerity that marked Van Zandt’s life and music. Despite the list of impressive names attached to the film, the story of his life is carried by his family; a group of wives, children, and cousins that he seldom saw but obviously loved. One of his daughters knows him only through the music he left for her to listen to before bed.

Do not let my words imply that this film is maudlin in any way. If you’re looking for a tragic figure, look elsewhere, but if you’re looking for a quiet film about perception and song writing, I believe this is the best new film of its kind.

- Mariah Klapatch