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Fur: An Imaginary Portrait of Diane Arbus (2006)

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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.


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Cast overview, first billed only:
Lionel Sweeney
David Nemerov
Gertrude Nemerov
Grace Arbus
Genevieve McCarthy ...
Sophie Arbus
Jack Henry
Tippa Henry
Mary Duffy ...
Allan's New Assistant
Lynn-Marie Stetson ...
Fiona (Naked Girl) (as Lynn Marie Stetson)
Handsome Client


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

Plot Summary | Plot Synopsis

Motion Picture Rating (MPAA)

Rated R for graphic nudity, some sexuality and language | See all certifications »

Parents Guide:





Release Date:

20 October 2006 (Italy)  »

Also Known As:

Fur  »

Box Office


$16,800,000 (estimated)

Opening Weekend:

$28,815 (USA) (10 November 2006)


$220,914 (USA) (15 December 2006)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

| |


Aspect Ratio:

1.85 : 1
See  »

Did You Know?


The film features no photographs by Diane Arbus. The Arbus Estate declined approval to use Arbus' work in the film. See more »


In the beginning of the movie, during the fur coat fashion show, Diane goes out onto the porch to expose herself. When she first walks out, the top two buttons of her dress are unbuttoned. The scene cuts to a close-up of Diane and the top two buttons are now buttoned. See more »


Lionel Sweeney: Cookie?
See more »


Featured in Siskel & Ebert: The Worst of 2006 (2007) See more »


Starlight Serenade
Written by Alan Moorhouse
Published by KPM/APM
Courtesy of Associated Production Music, LLC
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

A " Must See Again" Film
14 January 2007 | by (Canada) – See all my reviews

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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