I’m not sure why, but I’m a sucker for movies about the art world. (I studied art history in college, if that’s any indicator.) One of my favorite hybrid films, Orson Welles’ F for Fake, tracks a history of art fraud; last Friday, a studio rushed its long-held-up adaptation of Charles Willeford’s magnum opus, The Burnt Orange Heresy — about an art crime — into theaters (see it!), which recently appeared, along with Portrait of a Lady on Fire, on my mid-year list of best 2020 movies; I’ve praised Basquiat and Pollock and Final Portrait (about Alberto Giacometti) and even Crumb, about the cartoonist; I’ve had a spirited disagreement with the director of My Kid Could Paint That and promoted Never Look Away to the director of the Nasher.