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This portrait of a groundbreaking photographer lacks the daring of its subject. Read critic reviews
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Where to watch Fur: An Imaginary Portrait of Diane Arbus
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Fur: An Imaginary Portrait of Diane Arbus Photos
Movie Info
In 1958 New York Diane Arbus (Nicole Kidman) is a housewife and mother who works as an assistant to her husband (Ty Burrell), a photographer employed by her wealthy parents. Respectable though her life is, she cannot help but feel uncomfortable in her privileged world. One night, a new neighbor (Robert Downey Jr.) catches Diane's eye, and the enigmatic man inspires her to set forth on the path to discovering her own artistry.
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Rating: R (Language|Graphic Nudity|Some Sexuality)
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Genre: Drama, Biography
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Original Language: English
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Director: Steven Shainberg
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Producer: Bonnie Timmermann, Laura Bickford, Patricia Bosworth, Andrew Fierberg, Bill Pohlad
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Writer: Erin Cressida Wilson
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Release Date (Theaters): original
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Release Date (Streaming):
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Box Office (Gross USA): $220.9K
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Runtime:
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Distributor: Picturehouse
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Production Co: Edward R. Pressman Film Corp., Iron Films
Cast & Crew
Critic Reviews for Fur: An Imaginary Portrait of Diane Arbus
Audience Reviews for Fur: An Imaginary Portrait of Diane Arbus
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Diane Arbus (Nicole Kidman) is an artistically repressed housewife whose creativity is awakened when a circus freak (Robert Downey Jr.) moves upstairs. An interesting imaginary premise, but the movie gets trapped in unconvincing and disappointingly conventional romance, ending with a superficial, uninspiring message (sometimes abandoning your children is just the price you pay for great photography).
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The title cards before the film warn that this is not an historical biography, but I don't think that disclaimer releases the filmmakers from somehow connecting the main plot points to Arbus's art or artistic mission. What specifically attracts Arbus to the "freaks" she photographs? And what is the connection between these subjects and her trip to the nudist colony, which frames the film? Additionally, the film offers a half-hearted criticism of how women were treated in the fifties, and of course, the criticism is warranted. But the "patriarchal" husband is certainly more supportive than William H. Macy's character in Pleasantville ("Where's my dinner?"). I might have missed something (because the DVD skipped in the middle of the film), but from the best that I could tell, Allan Arbus was not terribly oppressive. So, at the film's conclusion, Kidman's character doesn't earn our sympathy, and the tribute to her estranged husband at the end falls flat. Overall, the performances were good. Perhaps it's my ignorance of Arbus's work, but the film does nothing to connect a very basic story to an "extraordinary" artist.
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Just didn't get the point. I thought this film was going to be about her work and life, but the film takes place before she even got started.
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Brilliant Movie that makes you think after watching it.
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