After 40 years in the making, legendary Citizen Kane director Orson Welles’ final cinematic opus, The Other Side of the Wind, is finally gracing the small screen, thanks to a team of trusted collaborators and, of course, the streaming platform Netflix.

The Other Side of the Wind is a dramedy unlike anything Welles had done before prior to his death in 1985. It’s shot in a direct cinema, cinema verite documentary style form, and follows an aged director as he struggles to complete a movie after returning to Hollywood during its transition from the classic studio system in the early 1970s.

The true brilliance of the film lies in the parallels with Welles himself and the main character, director J. J. “Jake” Hannaford, depicted by the perfectly cast John Huston.

Mr. Hannaford, who, like Welles, returns to Hollywood after a European sabbatical to try and complete an innovative new film. (Welles had a similar experience after his issues with the studios over the editing and screenplay of his 1958 flick, Touch of Evil.)

Alas, Hannaford’s main acolyte, Brooks Otterlake, (Peter Bogdanovich) mysteriously no longer wants anything more to do with him or the project. Even though Hannaford is still respected and admired in Hollywood, some “snoops” and critics like Julie Rich (Susan Strasberg) speculate that his best years are behind him. But only a few know the truth, that he is on the verge of being bankruptcy.

Despite The Other Side of the Wind’s divergent style, it’s extraordinary because of its content. As a viewer, one feels as though they are watching something that they aren’t supposed, almost like voyeurism- which is just a testament to the film’s authenticity and its director’s cleverness. Welles successfully and vividly lifts the curtain behind the murky process of classic filmmaking with a satirical, yet authentic tone.

On a more interesting and personal note, Welles used his partner during his later year, Oja Kodar, as Otterlake’s counterpart and muse in the unfinished film. Welles’ wildly known final flick is the stuff of myth. Not only was Bob Murawski (The Hurt Locker) and the rest of tech team’s editing superb, but the screenplay and witty dialogue completely blew us away. Luckily, Welles had shot thousands of reels of footage for the project for the collaborators to work with that were hidden away in Paris vault for decades.

Now, film students and connoisseurs alike can watch in awe and amazement of Welles’ last great achievement as a filmmaker. To a surprise to none, Welles’ genius lives on through his work. But to a surprise to few, he may be the first deceased director to receive an Oscar nod.