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Nicole Kidman and Robert Downey Jr. star in this odd hybrid of biopic and fable that mixes elements from the lives of photographer Diane Arbus and a hirsute freakshow performer named Lionel. Kidman plays Arbus, a woman who in the 1950s had yet to come out of her shell and discover her gifts. When a mysterious new neighbor moves in upstairs, she’s drawn to him — and he to her. Downey plays Lionel as a sexually presumptuous, benevolently commanding character — far from the pitiable creature I was expecting. Their relationship becomes romantic and sexual, with Arbus risking her marriage as Lionel opens her eyes to what would later become the focus of her photography — portraits of marginalized outcasts.

Kidman and Downey carry the film well, but Fur hangs as much on director Steven Shainberg’s (Secretary) style as much as it does the script’s central relationship. Shainberg creates stark contrast in the worlds of the two characters. Production design gets more surreal as you climb the stairs to Lionel’s place. When characters speak, Shainberg engages viewers with photographs and silent film footage depicting either past events or current dreams. But there’s one area of the film that is particularly grounded and matter-of-fact, and that’s in its depiction of retired circus performers and sideshow freaks. Shainberg succeeds in telling a story that, on the surface, appears to get more and more strange. But in execution, it becomes more and more genuine, honoring Arbus’ body of work.