Photographer Diane Arbus was considered one of the most mysterious, enigmatic and frighteningly bold artists of the 20th century. Most known for her obsession with "freak" subject matter, her haunting work emerged from a deeply… MorePhotographer Diane Arbus was considered one of the most mysterious, enigmatic and frighteningly bold artists of the 20th century. Most known for her obsession with "freak" subject matter, her haunting work emerged from a deeply private place. Arbus' death was as mysteriously tragic as was the aura surrounding some of her most piercing portraits.
Director Steven Shainberg's follow-up to his groundbreaking film "Secretary" (2002) is an anti-biopic that dares to read between the lines of its subject's artistic vision rather than replay the common knowledge events of photographer Diane Arbus' life.
Stilted, stylized and art-directed within an inch of its life, Shainberg's movie (which was written by his Secretary collaborator, Erin Cressida Wilson) manages to be both oppressively literal and fatefully fuzzy at the same time.
The world created by Shainberg never seems strange or real enough to convince us that we're getting the goods on anything. Put another way, this imaginary portrait might have done better had it stuck closer to reality.
Urban Cinefile Critics
Nicole Kidman is superb as the woman who blooms and goes a trifle mad at the touch of this other world inhabited by Lionel, and Robert Downey Jnr is the perfect actor for the role.
Don't be fooled for a second by that subtitle. Fur bills itself as An Imaginary Portrait of Diane Arbus, but this thing's got all the imagination of a career bureaucrat slumped in his cubicle awaiting a pension.
[Arbus's] most famous images still have the power to shock, hanging as they do on the walls of the world's museums. Fur, the movie about her, reaches for that same jolt and settles instead for a raised eyebrow.