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There was a problem filtering reviews right now. Please try again later. Verified Purchase. I found this to be very thought provoking. The producer of the calendar came off as sleazy to me, the way he looked at the models and talked to them.

I felt during a lot of his scenes that he was trying to get the girls into bed more so then bring out the greatness in them, as the photographer was doing in the way he coached and spoke to them.

The photographer was literally using these women as canvas, molding there bodies into shapes not normally seen in true life. Then in the end only a few of those remarkable images got chosen for the calendar, and he retouched them so much that they became a plastic piece with no personality to their bodies at all.

At the price point he was asking for he should have gone for a more edgy realistic feel then a "picture perfect pin up".

I felt the images shown at the end, that was the photographers personal project screamed real, art, and beauty.

He wasn't afraid to show imperfect skin, and even went so far as to fracture these perfect images with wire and other objects.

Did he show vagina? Yeah, but it wasn't a pornographic image focusing on the crotch of the women just to illicit arousal.

They were sexually appealing of course because they are beautiful women and he made them even more beautiful by letting them be imperfect.

Women and men are more then their sexual organs, the calendar producer only wanted to capture breasts and a pretty girl and charge an outlandish amount, then blamed his failure on the photographer!

The photographer turned around and captured these women as a whole. Imperfect, beautiful, and complete.

I thought it was an interesting look at how artists have to compromise their artistic integrity for their clients and in the end had the client listened to the artist he probably would have had more success.

The calendar was super pricey and didn't sell well, because at those prices people with money want to buy art, not pin ups.

The client didn't want to risk anything so he watered down the artist's vision to cater to the lowest common denominator and he failed anyway.

Had he allowed the artist to do his thing and it failed, at least he could say they did good work together. It's a shame that he chose this photographer and didn't use his talent to the fullest.

One of the most popular and renowned nude photographers David Bellemere is the primary focus of this documentary. One person found this helpful.

I think it's very difficult to do a film like this well. It's also very difficult for an artist to tread the fine line between art and pornography and to consistently come out on the side of art.

What's really amazing about this film is that it does something really original. It shows an artist chasing his muse across a commercial canvas -- who works in a world of high fashion and commercial demands -- trying to show the beauty of the soul beneath.

A woman's body is his canvas -- and the women he shoots are truly beautiful -- but I think the photographer could easily have shot men, or dogs, or still-lifes, and the viewer would still be moved.

The artist has the courage to shoot women who are not traditionally beautiful -- but whom he thinks are beautiful, or a little off-beat, or who have a charm that lies completely outside of beauty.

Nudity and beauty is the hook -- but what is he really trying to show you? As a counterpoint you have the calendar producer who is trying to launch a commercial product, create a brand, and to do the best he can since he's putting up his own money to get this done to make it a success.

He hires Bellemere because he is the best, but from the artist's work picks the photographs for the calendar and the show that fall a little flat -- for the artist as well as the girls.

But the producer picks those photographs for all the right reasons. Who is right? That is a large part of what this film tries to answer.

Is it the drive of the commercial project which faces the reality of the marketplace and tries to be successful? Or is it the artist chasing his muse across the beauty of the human body, the female body, looking for something that is both ephemeral and timeless?

The fact is both are right in their own way. The producer has to do things his way if he wants to sell his product, be able to afford to do another calendar next year, and create a brand that has legs.

To that end he chooses girls for the project who he can leverage for the strength of their social media presences and this is smart from a business perspective.

The artist on the other hand tries to pick women who he knows have a spark of greatness within them that he can bring out.

The women might be inhibited at first as we all might when faced with the daunting prospect of appearing nude -- even with one person, much less in front of millions.

But all of those women are willing to take the risk because they have seen the artist's work, and trust him, and are willing to take that journey because they want to BE beautiful, and to have that thing that they know is within them drawn out and made into art.

What's really subtle and hard to see, and maybe what Bellemere is trying to tell all of us in the first place, is that we all carry that beauty within us.

Often untapped.

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Nudity and beauty is the hook -- but what is he really trying to show you? As a counterpoint you have the calendar producer who is trying to launch a commercial product, create a brand, and to do the best he can since he's putting up his own money to get this done to make it a success.

He hires Bellemere because he is the best, but from the artist's work picks the photographs for the calendar and the show that fall a little flat -- for the artist as well as the girls.

But the producer picks those photographs for all the right reasons. Who is right? That is a large part of what this film tries to answer.

Is it the drive of the commercial project which faces the reality of the marketplace and tries to be successful? Or is it the artist chasing his muse across the beauty of the human body, the female body, looking for something that is both ephemeral and timeless?

The fact is both are right in their own way. The producer has to do things his way if he wants to sell his product, be able to afford to do another calendar next year, and create a brand that has legs.

To that end he chooses girls for the project who he can leverage for the strength of their social media presences and this is smart from a business perspective.

The artist on the other hand tries to pick women who he knows have a spark of greatness within them that he can bring out. The women might be inhibited at first as we all might when faced with the daunting prospect of appearing nude -- even with one person, much less in front of millions.

But all of those women are willing to take the risk because they have seen the artist's work, and trust him, and are willing to take that journey because they want to BE beautiful, and to have that thing that they know is within them drawn out and made into art.

What's really subtle and hard to see, and maybe what Bellemere is trying to tell all of us in the first place, is that we all carry that beauty within us.

Often untapped. Usually hidden. Bound up in laws and religion and morals which tend to hide our true natures. But he tries to bring that out of these women -- and that may be the thing he is chasing all across the world and looking for in the faces, and bodies, of all of the women he photographs.

What's amazing about the film whether this was intended or not is that it leaves the decision about who is right -- the producer or the artist -- up to the viewer.

There is no judgment -- just a clear presentation of the two stories. In my view, both are necessary -- without the commercial application, the art can't exist.

And without the art, the purely commercial application is lifeless. So who wins? Neither side, really. It ends up being a kind of uneasy alliance between the two sides.

But what is really interesting is what happens to the girls who have the courage to be part of the calendar. We don't see all of their stories, but one of the models shows the picture from the calendar to her mother.

The mother can't see beyond the fact that her daughter is naked, too thin, and she worries about the other perhaps more revealing photographs in the producer's and photographers possession which might appear some day elsewhere.

But in the end, even the mother can't argue with the art. It is her child, but there is also something expressed in the photograph which goes beyond all of that.

The model is proud of that -- and should be. The shoot was more difficult for her than it was for any of the other girls -- but she stuck with it and in the end Bellemere pulled the essential out of her in spite of, and perhaps more powerfully because of, her resistance.

Perhaps most interestingly, the shoot brings out a kind of justifiable rage from one of the models, who goes on to appear in a Ted Talk, and reminds us all that beneath the beauty, there are human beings who deserve our respect, and care, and love.

All of us, every one. Regardless of skin color, or origin, or social status. So this film is not just about selling things, or making art, it is a film about what it means to be a human being.

That wasn't what I was expecting at all. But that is what it is. So hats off to everyone involved in this -- the producer. The film is, in and of itself, a work of art.

Vapid young women with an aging photographer. It became repetitious. Very artistic, inspirational, creative but not enough nudity. It's just has too much nudity, I would consider this like watching porn videos Im not an artist nut this was very fun to watch.

Not just because of the nudes but the process was interesting. See all reviews. Back to top. Get to Know Us. Amazon Payment Products.

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