Bob Dylan spends three weeks touring England in the spring of 1965, and D.A. Pennebaker follows him with a handheld camera into hotel rooms, backstage corridors, and press conferences as well as onto the stage. It is Dylan's last tour as a solo acoustic performer before he plugs in, and the film catches him mid-transformation, sardonic and guarded with journalists, playful and combative with hangers-on, warmer with Joan Baez, who turns up to sing along backstage. Manager Albert Grossman works the promoters and the press in nearly every scene, brokering the image Dylan is simultaneously performing and resisting. A British reporter gets visibly worn down trying to pin Dylan into a sound bite; a fan's awestruck questions get met with open mockery. Pennebaker shoots in black-and-white, close and unpolished, with no narration and no interviews staged after the fact, just footage gathered as it happened. The result reads less like a concert film than a record of a young performer testing how much of himself he has to give away.