"On 19 December 1974, the writer Linda Rosenkrantz went round to her friend Peter Hujar's apartment in New York, and asked the photographer to describe exactly what he had done the day before. He talked in great detail about taking Allen Ginsberg's portrait for the New York Times (it didn't go well Ginsberg was too performative for the kind of intimacy Hujar craved). He also described the Chinese takeaway he ate and how his pal Vince Aletti came round to have a shower."
"I got home from filming and I got the chicken that I'd cooked the previous day and eaten half of and I finished it. Well, not finished it but continued eating it and then had a glass of wine and fell asleep at half past nine."
"Directed by Ira Sachs, Peter Hujar's Day consists entirely of 70 minutes of chat between Hujar and Rosenkrantz, played by Rebecca Hall. The script is taken from Rosenkrantz's transcript, which was rediscovered in 2019, when Hujar's papers were donated to New York's Morgan Library (Rosenkrantz is now 91, while the photographer died of Aids in 1987, aged 53). Hujar and Rosenkratz talk in his flat, lounging on the sofa and reclining on the bed, her reel-to-reel tape machine clanking and whirring as the sun goes down in what feels like real time."
Peter Hujar's Day is a 70-minute film directed by Ira Sachs that stages a single recorded conversation between photographer Peter Hujar and writer Linda Rosenkrantz. The screenplay is taken verbatim from Rosenkrantz's 1974 transcript, rediscovered in 2019 after Hujar's papers were donated to the Morgan Library. Ben Whishaw plays Hujar and Rebecca Hall plays Rosenkrantz. The film unfolds in Hujar's apartment in near real time, with reel-to-reel tape sounds and sunset light. The dialogue traces mundane activities, portrait sessions, financial worries, and acute attention to visual detail, testing the idea that no day is truly boring.
Read at www.theguardian.com
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