Peter Hujar’s work has always carried an aura of stillness: photographs that seem to breathe, portraits that reveal as much about the viewer as they do the subject. In his newest film,Peter Hujar’s Day, filmmaker Ira Sachs channels that same quiet electricity. Adapted from Linda Rosenkrantz’s 2021 book of the same name, the film distills a single day in the photographer’s life into an intimate, searching character study, anchored by exquisite performances from both Ben Whishaw and Rebecca Hall.Tune into Inside the Arthouse to hear Sachs discuss his latest project with co-hosts Greg Laemmle and Raphael Sbarge ahead of its release at the Laemmle Royal on Friday, November 7th, followed by the Glendale on Nov. 14th. Director Ira Sachs and author Linda Rosenkrantz will participate in a Q&A following the 5:10 p.m. show on Sunday, Nov. 9 at the Royal.
Whishaw plays the legendary photographer not as a mythic figure, but as a fully lived-in presence: mercurial, tender, impatient, sharp, and unexpectedly funny. The film invites us into his rhythms—late mornings, cigarettes, half-finished thoughts, bursts of creative clarity—skillfully capturing the myriad subtle ways that an artist’s mind moves through the world. Sachs resists nostalgia or biography-by-checklist; instead, he constructs a film that feels observational, almost diaristic, as if we’re seated in the room beside Hujar, absorbing the day as he does.Much of the film’s texture comes from the presence of Linda Rosenkrantz, played with luminous precision by Rebecca Hall. Rosenkrantz, a close friend and confidante of Hujar’s, recorded conversations with him in 1974 that later became the foundation of her book. Hall captures her subject’s mixture of curiosity, affection, and intellectual playfulness, qualities that draw Hujar out and give the film its emotional backbone. Through their dialogue, we glimpse two artists who understand each other deeply, even (perhaps especially) when they challenge each other’s ideas and modes of being.
Visually, the film mirrors Hujar’s own aesthetic. The camera lingers on faces, gestures, light falling across skin, and moments that feel simultaneously spontaneous and carefully composed. Music is used sparingly, giving the film a contemplative hush that heightens the emotional subtlety of Whishaw’s and Hall’s performances.Rather than offering a sweeping biography, Peter Hujar’s Day stays tightly focused on a microcosm: one day, one set of conversations, one friendship that mattered enormously. In that narrow frame, Sachs finds something expansive that speaks to the fragility of creative lives, the intimacy of collaboration, and the fleeting, miraculous nature of artistic clarity.“Imagine if My Dinner With Andre allowed for the characters to continue talking away from the table.” – Monica Castillo, RogerEbert.com“[A] salute to the hidden transcendence of the everyday.” – Owen Gleiberman, Variety“Whishaw and Hall forego showiness for a quiet, shorthand-filled take on these old bohemian pals.” – David Fear, Rolling Stone
Whishaw plays the legendary photographer not as a mythic figure, but as a fully lived-in presence: mercurial, tender, impatient, sharp, and unexpectedly funny. The film invites us into his rhythms—late mornings, cigarettes, half-finished thoughts, bursts of creative clarity—skillfully capturing the myriad subtle ways that an artist’s mind moves through the world. Sachs resists nostalgia or biography-by-checklist; instead, he constructs a film that feels observational, almost diaristic, as if we’re seated in the room beside Hujar, absorbing the day as he does.Much of the film’s texture comes from the presence of Linda Rosenkrantz, played with luminous precision by Rebecca Hall. Rosenkrantz, a close friend and confidante of Hujar’s, recorded conversations with him in 1974 that later became the foundation of her book. Hall captures her subject’s mixture of curiosity, affection, and intellectual playfulness, qualities that draw Hujar out and give the film its emotional backbone. Through their dialogue, we glimpse two artists who understand each other deeply, even (perhaps especially) when they challenge each other’s ideas and modes of being.Visually, the film mirrors Hujar’s own aesthetic. The camera lingers on faces, gestures, light falling across skin, and moments that feel simultaneously spontaneous and carefully composed. Music is used sparingly, giving the film a contemplative hush that heightens the emotional subtlety of Whishaw’s and Hall’s performances.Rather than offering a sweeping biography, Peter Hujar’s Day stays tightly focused on a microcosm: one day, one set of conversations, one friendship that mattered enormously. In that narrow frame, Sachs finds something expansive that speaks to the fragility of creative lives, the intimacy of collaboration, and the fleeting, miraculous nature of artistic clarity.“Imagine if My Dinner With Andre allowed for the characters to continue talking away from the table.” – Monica Castillo, RogerEbert.com“[A] salute to the hidden transcendence of the everyday.” – Owen Gleiberman, Variety“Whishaw and Hall forego showiness for a quiet, shorthand-filled take on these old bohemian pals.” – David Fear, Rolling Stone