For nearly a decade, Monroe let Eve Arnold in. Not because she had to, but because she trusted her to look without wanting to possess her. More than a hallmark of on-set photography, it was a final collaboration between two women who refused to be only seen as two-dimensional.

By the production of The Misfits, Monroe became the embodiment of the outsider. While the men around her throughout her career (from directors Olivier and Huston to her husband Arthur Miller, and later photographer Bert Stern) projected their fears and desires onto her, Arnold's photographs from the set are grounded in something Monroe rarely received: consent.