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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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,
Steve Beck (Vince Martin) is a Karate instructor, Robby Mason (Tom Jennings) his prize student. Beck is using drugs to give him an edge. Guy Duncan (Craig Pearce) is Beck's drug connection ... See full summary »
When a disgraced former college dean has a romance with a mysterious younger woman haunted by her dark, twisted past, he is forced to confront a shocking fact about his own life that he has kept secret for fifty years.
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
Towards the end of the movie, Lionel is shown beginning to blow up the canvas raft. He later explains that it is for Diane when he takes his final swim. Someone suffering from such extremely low lung function that he will only live a few months would never be able to inflate a raft that size. See more »
Whets the appetite for a film about the real Diane Arbus
I enjoyed this film, but it made me wish someone would do a historically accurate film about Diane Arbus to go with this self-admitted fantasy.
I felt a strong relationship with this film and Fellini's Juliet of the Spirits - something I haven't noticed any critics remarking upon, so maybe it's a weaker correlation than I believe. In both cases a shy, repressed woman releases her wild inner self by an encounter with a colorful, bizarre, and maybe imaginary neighbor.
The film's striking visual style is complimented enormously by a standout score from Carter Burwell. Here he gets to take a much more active role than the usual minimalism he employs in the Coen brothers films for which he is famous.
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