Shadows on the Wall | Peter Hujar's Day

Peter Hujar’s Day

dir-scr Ira Sachs
prd Jordan Drake, Jonah Disend
with Ben Whishaw, Rebecca Hall
release UK Oct.25 lff,
US 7.Nov.25
25/US 1h16

SUNDANCE FILM FEST
BERLIN FILM FEST

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Working from the transcript of a conversation that was lost for 45 years, writer-director Ira Sachs creates a riveting snapshot of the New York art world in the 1970s. Filmed period-style on 16mm film in strikingly realistic settings, the direction, performances, camerawork and editing add terrific movement to what is essentially just an hour-long chat. And through everyday words, the film has a lot to say about creativity.

In December 1974, photographer Peter Hujar (Whishaw) is asked by his friend, author Linda Rosenkrantz (Hall), to describe in detail the previous 24 hours in his life. As she serves snacks and records their conversation, Peter describes various encounters with his art-world colleagues. Linda continually asks him to clarify things as he recounts making phone calls and walking to take a portrait of Allen Ginsberg for the Times, worrying about what to wear to the Lower East Side. Later he describes working in his darkroom while he continually thinks about catching up on sleep.

Peter drops a flurry of famous names (from Lauren Hutton to William Burroughs) as he recounts discussions with people about his work, making plans and sharing ideas, telling people he needs to get back into the darkroom but actually sneaking back to bed. Visually, the film features several distinct settings around Linda's multi-level apartment, plus a few trips outdoors as day shifts to night, which cleverly adds a sense of the length of time they spend together. Offbeat flourishes include a telling glimpse of the film crew.

Both actors are understated and natural. Whishaw recounts Peter's day in a relaxed way that reflects intimacy even when the anecdotes are mundane. And Hall gives Linda an underlying curiosity as she continually asks for details, pushing him to find connections and insight. The bond between them is fascinating, a close friendship that is expressed through easy chatter and knowing silences. The things they laugh at are enjoyably telling, reflecting both commonalities and distinct world views.

Nuanced descriptions of New York City are also wonderful. Sachs continually plays with lighting, costumes and music, including a dance break when Peter puts a record on. When he speaks about his work, he touches on the difference between going through the motions and pouring his soul into it. Most intriguing is that both Peter and Linda feel like they do so little with their days, but going through the exercise of listing their activities reveals a richness in even the less memorable moments.

themes, language 4.Nov.25

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