This Much I Know To Be True

The performances are beautifully filmed; grandeur without pretentiousness.

A rather fun Nick Cave movie might not have been on your 2022 bingo card, but here we are.

The accumulating effect of this airy and resonant film’s formal devices is that of a heartbroken artist learning to reengage with society.

I’ve never been a big fan of Cave. This film made me rethink his talent and gifts. Some will long for the days of short, sharp and violent Cave, the baddest of the bad seeds, but this new Cave is like a messenger from a higher place in the tower of song.

Musically sublime, gracefully directed, and filled with an inspiring optimism that couldn’t be more timely, this is another first-class exercise in capturing music on film from Dominik, Cave and Ellis.

There is much to enjoy, not least for fans of Marianne Faithfull, here on delightfully cranky form when called upon to contribute vocals for a performance.

Despite being mostly performances, the film is at its best during the relaxed documentary segments.

... This film is worth any Cave fan’s time – especially for the dark euphoria of ‘White Elephant’ and the fire-and-brimstone rave of ‘Hand Of God’ – but Dominik again gets close to show us the heart behind the art.

It continues the narrative from One More Time with Feeling, framing Cave's acceptance of his grief. Watching the film through the lens of its emotional prequel is unavoidable. The mournful air may not be as concentrated, but it lingers in the shadows.


The film features some dazzling camerawork, light shows, and the music is absorbing and dances seamlessly in ballet with Dominik’s direction.