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 on... Read allTurning 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.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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Lynn-Marie Stetson
- Fiona - Naked Girlas Fiona - Naked Girl
- (as Lynn Marie Stetson)
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. —Claudio Carvalho, Rio de Janeiro, Brazil
Top review
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.
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.
helpful•61
- Michael-238
- Mar 16, 2008
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What is the French language plot outline for Fur: An Imaginary Portrait of Diane Arbus (2006)?
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