Turning her back on her wealthy, established family, Diane Arbus falls in love with Lionel Sweeney, an enigmatic mentor who introduces Arbus to the marginalized people who help her become one of the most revered photographers of the twentieth century.
Sonny lives with his intellectually disabled older brother, and works as a bellhop at a second-rate hotel. This changes when Monique a beautiful, suicidal nut-case checks in. Sonny is offered a part in a heist that goes wrong.
Friends for ten years, a group of twenty-somethings head for the ski slopes as guests of Ian's father. (Ian and dad are estranged because dad worked too many hours when Ian was a lad.) Dad ... See full summary »
The movie is a coming-of-age drama about a boy growing up in Astoria, N.Y., during the 1980s. As his friends end up dead, on drugs or in prison, he comes to believe he has been saved from their fate by various so-called saints.
Robert Downey Jr.,
Margot and her son Claude decide to visit her sister Pauline after she announces that she is marrying less-than-impressive Malcolm. In short order, the storm the sisters create leaves behind a mess of thrashed relationships and exposed family secrets.
Jennifer Jason Leigh,
A comedy of life's temptations - lust, greed and power. The city in question is Sydney and the colour green signifies greed and envy in David Williamsons amusing satire on its film and ... See full synopsis »
A mysterious antique store owner sells an unusual fox fur piece to a young man in drag. He goes to a telephone to describe the exciting purchase to his boyfriend, but in the phone booth he ... See full summary »
Elizabeth Ann Drumheller,
In 1958, in New York City, the upper class Diane Arbus is a frustrated and lonely woman with a conventional marriage with two daughters. Her husband is a photographer sponsored by the wealthy parents of Diane, and she works as his assistant. When Lionel Sweeney, a mysterious man with hypertrichosis (a.k.a. werewolf syndrome, a disease that causes excessive body hair), comes to live in the apartment in the upper floor, Diane feels a great attraction for him and is introduced to the world of freaks and marginalized people, falling in love with Lionel. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Had I taken to heart what the movie reviewer in my local paper had written about this film (and his 2.5 star rating) -- I would not have gone. Fortunately, I checked out IMDb and read that someone had compared it to Jean Cocteau's avant-garde "La Belle et La Bete." Enough said. That commendation, and armed, as I was, with the knowledge that Nicole Kidman has done some exceptional films in recent years (particularly "The Hours," "The Others," and one of my all-time favourite psychological thrillers, "Dead Calm"), I was off to the local art film theatre to join the sparse (perhaps a dozen?) audience of viewers.
In short, this film has set the bar extremely high re: all other films I will see in 2007. One finds not only the influence of Cocteau in the film, but also of Kubrick, Hitchcock, and even of Maya Deren. (ie: there is a stunning image of Kidman/Arbus crawling out of the sea -- a few moments of sheer poetry -- that are reminiscent of Deren's "At Land.") (Also, perhaps a little Jane Campion with the underwater shots near the end.)
This is a decidedly painterly film, with everything from Arbus's dresses to the evocative interiors of Lionel's museum/carnival-like apartment and the film's textures worthy of commentary in both film classes and post-film chats with friends. Contrasts are integral to this film. The paint-peeled walls provide an interesting contrast with the elegant satins and aristocratic dining accoutrement (tea pot, cup), and parallel Lionel's declining health. Arbus's smooth skin vs. Lionel's fur. The staged symmetry of Arbus's husband's white-washed, commercial photography vs. the brilliant chaos in Lionel's apartment. Arbus's wealthy, "proper" parents vs. Lionel's menagerie of "freaks". Many of the shots are framed in interesting, geometrical or architectural ways, or echo camera apertures. The use of the colour blue in some scenes is breathtaking.
Great line -- (not verbatim): Allan Arbus -- "I'm a normal guy, now I have a hole in my ceiling and freaks coming through it."
I also felt the chemistry between the principal characters (a rarity), and believe the pacing greatly attributed to the overall success of the film. The framing -- with the nudist camp -- underscored the change/growth in the protagonist.
As my 20 year old daughter said upon leaving the theatre -- "This is the kind of film that really makes you want to live the life you were meant to." Here here. "Fur" gets five big, bold, blazing stars. It is, quite simply, brilliant. Please, tell your friends.
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