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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.

Being lucky enough to have a free pass for the press this morning I attended the press screening of this film at the Roma Film Festival, which opened today. I would like to share some thoughts. First of all, this is far from being a biographical account of the photographer Diane Arbus. The film, with shows not a single of her works, just covers the few key months in which Arbus discovered to be an artist, leaving her well-to-do environment. One day ante litteram desperate housewife Arbus, married with the mild mannered advertising photographer Allan, looking outside the window sees Lionel, their new neighbour: this is the beginning of the most unusual of love stories, around which the whole film revolves. Lionel, which is an entirely fictional character, suffers from ipertrichosis, a pathological condition which makes his body and his face completely covered with hair. Lionel helps Arbus to discover herself and introduce her to the world of the freaks, like himself is, which would be the subject of most of her work. The title of the film states it is an imaginary portrait of the artist. It's more like a wild fantasy loosely inspired to her figure. Kidman's performance is good, but not mind-blowing. Robert Downey Jr.'s is more interesting: with his face completely covered with hair he manage to create a rather intriguing character, acting just with his eyes and his beautiful voice. I must say that after the screening the press audience was pretty harsh with the film. It's not really a BAD movie, one can say that in its way it has also a kind of weird charm. Steven Shainberg's direction is creative and interesting. Still, the film has many very weak points. There are really A LOT of unintentionally funny things, first of all the striking resemblance between Robert Downey Jr.'s character and Star Wars hairy fellow Chewbacca. Two or there meant to be serious lines made the audience (and me) laugh out loud. A few scenes were nearly ridiculous. If you are a fan of Kidman or Downey Jr. you can give a chance to this film: don't expect a serious work about Diane Arbus, but rather a very strange dream, and maybe you'll enjoy it. 6/10

I saw Fur this afternoon. I went to the 1:30 pm matinée and we were only three in the theater. 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. It wasn't simply an opportunity to see Robert work – it was my kind of film. 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 waiting for a real freak" I knew just what he meant. Diane has been forbidding her own self to be true and she suffers from it. Lionel is her liberator, it's a love story of the most spiritual kind since "…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." I thought the chemistry between Nicole and Robert was right on, both of them being seekers of truth. If you believe that the eyes are windows to your soul then you will be unable to take your eyes off the screen. Their journey is in their eyes – you see in them the curiosity, the fascination, the fear, the pain, the joy, the love and finally the liberation of their souls. When the photograph is finally taken, Robert has your heart in his hands. 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. My. God. 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.

There is not a great deal I feel I can say about this film, except that it is one of the strangest and most surreal film I have ever seen.

It was a film which made me constantly want to reach for the 'Off Button' on my remote but at the same time I felt compelled to continue watching it.

In the end I did see the whole film and was glad that I did.

I cannot 'hand on heart' recommend Fur..... as I feel it is one of those films that we simply love or hate. However in my case I simply can't decide and I feel I shall have to watch it again in order to decide which way I feel.

If you like surreal and/or the actors, give the film a viewing, thats the only way to decide how you personally feel.

Plutus

'Fur: An Imaginary Portrait of Diane Arbus' is itself like a beautiful painting. Starting from the photographic visuals, the artistic execution, the use of symbolism and metaphors, the superb camera-work, the incredible performances and stunning art direction, this is one film that is a poetic treat for the viewer. The background score gives voice to the unsaid feelings. Not only is it dazzling to look at, it's thought provoking and a fulfilling cinematic experience.

I loved the use of symbolism and metaphors. Some examples include: The association between the scene where Diane disrobing in the final sequence and the earlier scenes where she dresses up to her neck as part of social etiquette. Then there's the strong contrast between a furry Lionel and the high-classed women who were obsessed with fur and another interesting contrast between Lionel's dark fur and Diane's smooth translucent skin. There are numerous such intriguing symbolism that beautifully stand out. The references to classics like 'Alice in Wonderland' and 'Beauty and the Best' and influences of Hitchcock and Kubrick are obvious and brilliantly used. The visuals too represent a strong ideas. They are not just there for mere beauty. The colour blue plays a key role on multiple levels.

Shainberg's direction is awesome but what I liked most was the way Diane felt more 'at home' with the people who were termed 'freaks' rather than her own family or her husband's social circle. Nicole Kidman is magnificent. Robert Downey Jr. too gives an equally subtle and heartbreaking performance. The two share a very passion-filled chemistry which only stresses on the fascination and attraction that draws Diane and Lionel towards each other. Their quiet love story speaks volumes about their internal desires and strong feelings for one another. I've mostly seen Ty Burrell in comedies like 'Out of Practice' and 'Back To You' but here he shows that he can pull off serious roles as well.

Not only is 'Fur: An Imaginary Portrait of Diane Arbus' a plot driven film, it can be watched as a character piece, a mood piece, a love story and a period piece. A film that can be appreciated on so many levels, I fail to understand why it gained so little recognition.