A Face in the Crowd engages in a compelling paradox: it prominently displaces and visibly erases Blackness on-screen. Intentionally or not, in following the rise and fall of a white folk personality, the film tells a different but related story, that of “love and theft” as Hollywood’s original, and gravest, sin. 
Lily Gladstone and Martin Scorsese on the set of Killers of the Flower Moon
It’s the purview of art, of good art, to move. To move emotionally, intellectually, to move with or against the moment in which it’s found. It’s also the purview of the critical observer to take on whatever totality of context and understanding about the art and artist they already retain, or accumulate and decide for themselves what the work means, if it happens to mean anything.