“I’m Not There” is Todd Haynes’ version of the question, framed not as a demand but as a ballad sung in the language of movies, as if the only way to get to the meaning of Dylan were through another type of song. This Dylan — this idea of Dylan — is, as the movie’s opening tells us, “Poet, prophet, outlaw, fake, star of electricity,” although he is perhaps more a place than a person, an elusive destination that we — that is, those of us who love his music — keep traveling toward.

She also has and interview with the Director of the Film.

LD Beghtol of the Village Voice has a Control review that touches on Corbijn’s gaze towards Ian Curtis and Joy Division:

His long infatuation with Joy Division first went public when his photos of the band—made literally in Curtis’s final weeks—were shunned by the press as too strange, too arty; only after the singer’s death did these enigmatic images become widely known, making Corbijn famous in the process. Inevitably, then, Corbijn became the de facto image consultant to the burgeoning postmortem JD industry: Witness his risible late-’80s video for “Atmosphere,” in which dwarfish, robed, and hooded figures galumph through an arid sub-Bergmanesque landscape, intercut with stills of the young, then-clueless band. Corbijn’s later videos are often much less cack-handed than this one, making him an obvious (perhaps too obvious) choice for his much-postponed feature-length debut.

Read the article at the Village Voice.

Related:

A comprehensive review of the film can be found at Westminister Wisdom.

Rock photographer Anton Corbijn discusses his intimate, eloquent movie about Joy Division, “Control,” and the band that inspired it.