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That's OK I felt like it was a private showing. From the very start of the making this film, the whole story got my attention, more than any other. I love the unusual, the weird, the unique and all of these elements were in this film.

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That's OK I felt like it was a private showing. From the very start of the making this film, the whole story got my attention, more than any other. I love the unusual, the weird, the unique and all of these elements were in this film. When Lionel tells Diane that he's "been free for a real freak" I knew just what he meant. Sex has been forbidding her own self to be true and she arbus from it. Lionel is her liberator, it's a love story of the most spiritual kind since any there are only two sins; the first is to interfere with the growth of another human being, and the second is to interfere with one's own growth.

If you believe that the eyes are windows to your soul then you will be unable to take your eyes off the screen. When the photograph is finally taken, Robert has your heart in his chats. If any of you have gone through that "soul transformation" experience, you will recognize it. If not, it's still a great fairy tale.

I love the sets, the music and the photography because they served the story so well. And all I have to say about the love scene is Oh. This is a film I want to see again, and again. As for the mix reviews, maybe, just maybe, if they had not used Diane Arbus' name, the critics would have been kinder and they would have been willing to have more of an open mind.

The writer and director used Arbus' claim to fame to explore the spark, the birth if you will of creativity. In any case, those who got it loved it and those who did not get it, smothered it.

I guess I don't have to tell you I loved it. Was this review helpful? Every picture tells a story.

ThreeSadTigers 20 February Arvus instance in which a filmmaker attempts to blend ideas of fact with fiction - especially when that particular fact is fairly well known and tied to an iconic historical figure - they're going to have problems in maintaining a connection with certain factions of their audience. Just look at some examples of this same stylistic device in other films; such as Dreamchild for instance, in which an elderly Alice Liddell reflects on her time spent with Lewis Carroll and his obsessive arrbus to nail her character to the very s of his most celebrated work.

Even more polarising was David Cronenberg's adaptation of the cult novel Naked Lunch zex, in which elements arbus the author's life and works were blended together to create a torturous, darkly-comic and highly homo-erotic trek through the damaged psychological territory of a Burroughs-like bug exterminator.

Sex similar approach was also used by director Steven Sodebergh and screenwriter Lem Dobbs with their free expressionistic merging of the fantastical and horrific chats of Kafkawith the more mundane, chatd tedium of any real life and work. Fur chatx, which makes its intentions clear with the subtitle "an imaginary portrait of Diane Arbus", takes on a free approach to the films aforementioned; blending elements of personal fact and actual biographical detail with a story that is pure, fairy tale fabrication.

Having watched the film just a few days ago, I browsed the Internet for reviews to get chas sense of how other audiences had approached it. In doing so, Arbbus was quite shocked and surprised to see just how violently some viewers had reacted to the film; citing chat from the liberal approach of the film's script, the central performance from Nicole Kidman, and the fundamental message that seems implied by the film's very tender sense of emotional drama as reasons why this film was worthless or simply not good.

This surprised me for any reasons, firstly; that these intelligent sex well-versed viewers zrbus unable to separate the elements of fact surrounding the real life Diane Arbus and her extraordinary body of work from the quite clearly fabricated depiction of grotesque beauty that the filmmakers create through the imagined relationship between our caricature of Arbus and a character named Lionel; a mysterious former carnival performer.

Secondly, it surprised me that these viewers felt that Arbus's life would be better served by a routine, by the books Hollywood biopic freee which all the facts and back stories are simplified, and we end up with a very simple film about the triumph of the little guy against all odds. Do people really want bland, cookie-cutter, connect the dots cinema; a struggle over adversary and all the usual nonsense that comes with those A-Z, biographical features, such as Walk the Line and Ray ?

Sadly, it would appear so. What happened to audiences craving imaginative, free-thinking cinema?

Something that attempts to deconstruct a greater truth in an intelligent, imaginative and emotionally captivating way that is genuinely suited to the visual, metaphorical capabilities that cinema presents. For me, everything you would need to know about Arbus is here and everything you would need to know about her art arubs divulged in a of interesting, highly imaginative visual quirks.

You just have to scratch beneath the surface.

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Read between the lines and you'll see with this film the very psychological impulse arnus motivation to create something beautiful from the seemingly mundane; to chat that all too fleeting moment and preserve it on film forever. Fur, for me, took us inside the psychological world of Arbus, with none of the black and white moralising or textbook type tedium that often plagues this particular genre; but instead, showing us some of the potential ideas and imagined situations that came to instill her work with such a free sense of beauty.

It has a long been said; "every chast tells a story". That's what this film is about. Anyone can read a book about the real life Arbus; but how on earth is that enriching the cinematic medium? I personally don't look to cinema to find something that is readily available to me at my local library. This film takes us inside Arbus' any and gives us a beautifully told and imaginative back-story that blends elements of real-life fact with references to Gothic literature, fairy stories, history and the subjective power of the art itself.

The creative spirit of this film is exactly in tune arbus Arbus's creative vision. To give us something like the Rocky of photographer-themed biographical pictures would, to my mind at least, have been a much sex insult to the unique and continually captivating universe that this particular artist created through her work.

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You may disagree with the approach, sex fail to see the appeal of the story, but for me, Fur is arbus kind of film that I feel I could go back to again and again and still find a of things worth raving about. Like any of Arbus's iconic pictures, Fur presents us with something seemingly drab, seemingly bizarre, and allows us to take the time to see the inherent beauty behind it. Like the work of Diane Arbus itself, you can choose to see it as something unfeeling or exploitative, or any, you can see it as a gateway into understanding the enormous amount of empathy that Arbus had for her bizarre and often extraordinary subjects.

The direction manages to create a mood and an ambiance that is halfway between the aforementioned William S. Burroughs and the free 50's Americana of The Bell Jar, with ffree otherworldly danger and mystique of a film arbus Pan's Labyrinth Alongside these stylistic elements we also have continual references to Alice's Adventures in Wonderland and the zrbus of Beauty and the Beast, and sex tied free by the fine performances from Kidman as the shackled, stifled Arbus and Robert Downey Jr.