Film evaluation of fur

Flowing colors pay tribute to the silent mirror image of black and white

—— At the beginning of the film

, when the naked members of the sports camp affirmed the visiting rules of Diane Abs (Nicole Kidman), they really believed the bad advertising words of some movie websites and waited for Nicole's good role. However, as I continued to watch, a suffocating sense of depression gradually spread in my body-like being gripped by an invisible hand. I had to stop watching several times, take a deep breath on the roof several times, and look directly at the sun, trying to quickly return to the real warmth to dispel the haze that had lingered in my heart for a long time.

Diane, who can't sleep at night, recalls with disgust the hypocrisy, pretence and extravagance of the so-called upper-class groups at the fashion show, and is shaken by the fear in the eyes of the child whose face is covered with purple birthmarks when she was a child. On the balcony, Diane, who is gentle and rational in the eyes of everyone on weekdays, can't help but release the anxiety lurking in the depths of her heart by exposing her upper body. All this was seen by Leon (Robert Downey Jr.), a newly moved neighbor with hirsutism.

When cleaning the sewer, Diane was attracted by the strange long hair blocking the sewer. Unable to resist her inner curiosity, she picked up the key in the sewer, picked up the camera and went to Leon's house on the second floor to find out. The narrow, dark, mottled and gloomy old staircase leading to the second floor brought Diane into a deformed world on the edge of society that was ignored by ordinary people. In the end, with a somewhat alienated love for Leon and a real fear of the marginal world, Diane devoted her life to the fanatical worship of deformed groups.

From all kinds of strong contrasts and allegories in the film, we may be able to understand (I hope not misread) the director's interpretation of the real Diane spirit.

At the beginning of the film, the mask of Leon, a hirsutism patient, and the hairy body under the mask are creepy and repulsive-but Diane's figure reflected from his pupil through the cat's eye on his door is really beautiful and weak-and at the end of the play, when Diane slowly shaves all his body hair, it shows us a mature and aesthetic male body;

Similarly, at the expensive fur fashion show at the beginning of the film, silky and gorgeous luxurious skins, coy and glamorous models, and those flattering boos and greedy eyes at the scene who are after fame and gain, and at the end of the film, Diane wore a fur coat sewn by Leon's hair and returned to her apartment with a tired face and no scruples, and threw herself on Leon's bed with deep affection to breathe the smell he left behind.

Diane's husband, Allen (played by Ty Brill), is bent on the glitz and glamour of upper-class society, and the heavy make-up of plane models with stiff expressions deliberately arranged to improve Diane's photography skills are incompatible with Diane's desire to pay attention to the deformed world and the tranquility and reality of the disabled, homosexuals and transgender people in the world she cares about.

According to common sense, Allen, the husband in the play, is a good husband and a sympathetic victim. He loves Diane deeply and tolerates his wife's destruction of marriage again and again. In fact, when the normal ethical system in my heart was torn apart by Diane's betrayal-which is also the reason why I felt extremely uncomfortable in the first half of the film-I have been played a little by the director's careful layout and my own vulgarity. With respect to Diane's rebellion against all normal aesthetic tastes, the director is also trying to rebel and subvert the audience's fixed ethical cognition. Although, only a few people can realize that some moral principles that people have always respected are just a kind of appearance label for people to cover up the darkness and ugliness behind their backs.

Perhaps, the director wants to reiterate photographer Diane Abs's artistic point of view through multi-layer allegory: to seek the real emotion hidden behind the camera through living misery. Although the director only observes Diane's black and white, still, broken, decadent and even ugly image world with colorful, coherent and fluent audio visual symbols, whether his expression and interpretation are appropriate or not, as he said in the opening remarks of the film, "This film is a tribute to Diane." -It seems that he did it.

Just as my interpretation of this film is as superficial as its title "Fur" (2), my heart is full of admiration for the lofty art and real artists from beginning to end.

Note 1: Diane Arbus —— When the film started soon, the persistent depression, heaviness and shocking revealing style overwhelmed me, I had to stop watching it for the first time and search for all the real background information about her —— Jewish, the most important standard-bearer of American new documentary photography from 1923 to 1971, and was called "Van Gogh in photography". She aimed the camera at all the original forms of marginalized people who were deliberately avoided by mainstream aesthetic tastes, even disgusting and spurned. The depravity and filth of the poor and homeless, the recklessness of transsexuals and homosexuals, the calm body in the celestial camp, the serenity and calmness of deformed people and dead bodies, etc., are all the objects that her lens pursues all her life. "Many people spend their whole lives afraid that they will be bruised, and these disabled patients and deformed people were born with injuries. They have passed the test and are all nobles." After reading this famous saying from Diane's mouth, maybe it is not difficult for you to imagine why she is so stubborn and respectful of those suffering pictures. Diane also believes that everyone around us is deliberately pretending and trying to send out a specific signal, hoping that the world around us will know them through these signals. However, people are trying to discover the defects of others, which is the inertia emission and inertia cognition between normal people, which she calls cracks. Similarly, it is not difficult to imagine why some so-called normal people keep spitting at her works and feel angry and scared when they examine her works. Obviously, her enthusiasm for the normality of the marginalized groups-those scenes that are contradicted by the so-called normal vision-stung people's sensitivity and fragility to cover up their ugliness in a funny and futile way.

Note ②: This film is also translated into Fur or Peering the Shadows.