Peter Hujar’s Day is currently available on Criterion Channel and has a very simple premise: it features two people engaged in a conversation. Directed by Ira Sachs, known for films like Forty Shades of Blue and Keep the Lights On, this project has origins in a 1974 recording by author Linda Rosencrantz. In this recording, she captured a chat with several artist friends in New York City, including photographer Peter Hujar, discussing their previous day’s activities. Although the project didn’t come to full fruition and the original tapes were lost, transcripts of Rosencrantz’s interviews with Hujar survived. Those were published years later, and Sachs adapted the book into a film, with Rebecca Hall portraying Rosencrantz and Ben Whishaw as Hujar. For most of the 76-minute runtime, we primarily listen to Hujar’s musings.
Peter Hujar’s Day: Stream or Skip?
The setting is Rosencrantz’s New York City apartment, starting awkwardly in the elevator, where we catch a glimpse of Whishaw from behind alongside the film slate and microphone. This hints at an underlying layer of artistic perspective amidst this semi-fictional retelling of everyday realism. Whishaw quickly immerses into the role of Hujar as both sit in various spots throughout the apartment—on the couch, at the dining table sipping tea, on the bed, and out on the roof smoking while recording their conversation. The apartment is unique and stylish, featuring ample natural light and a platform-like area for the living space. Sounds from the lively city drift into their dialogue.
Rosencrantz prompts Hujar to recount his previous day’s events, a task that surprisingly takes him 12 minutes rather than just a few hours. He shares a mostly linear yet winding narrative about his habit of going to bed late and questions whether his 10:15 a.m. snooze counts as a “nap.” To keep things clear, we summarize these details, which differ from how we typically express ourselves verbally. Hujar mentions phone calls, meeting various people, working on assignments, sharing dinner with friends, and an errand to buy cigarettes where he amusingly pays with a $10 bill and a penny since they cost 56 cents. He names many New York artists like Susan Sontag and Fran Leibovitz.
His main task for the day was taking photographs of Allen Ginsberg for the New York Times, a somewhat awkward experience where Ginsberg voiced his discontent with the publication. Rosencrantz humorously notes Ginsberg’s “compulsive chanting,” and Hujar recounts how he suggested tricking William Burroughs, who was invited to join later, for a better shot. Disappointingly, Hujar reflects on the darkroom results, feeling a disconnect with his subject. He shares what he ate—like Pepperidge Farm bread and Braunschweiger—his push-up count, what he watched on TV, and how he bought a 32-ounce Coke for 65 cents, which leads to a moment of reflection on how striking it was that Coke cost more than cigarettes back in 1974, hinting at potential health issues stemming from such consumption. Sometimes, the film pauses, letting viewers soak in static moments of Hujar and Rosencrantz.
This movie might remind some of the iconic conversational film, Dinner with Andre.
Performance Note: Whishaw delivers a standout and challenging performance, masterfully handling much of the script in a natural, conversational flow.
Our Perspective: Does Peter Hujar’s Day delve deeper into the mundane? Can you find meaning in the minutiae? It strives to capture more than just an ordinary day in an artist’s life, avoiding a disengaging minimalism that can sometimes put viewers to sleep. Occasionally, it veers into excessive introspection. Though Hujar’s work has gained recognition since his passing from AIDS-related causes in 1987, he remains relatively obscure outside niche circles. There’s an essential context that might not resonate if you weren’t there, leaving a sense of detachment initially.
Yet, as you acclimate to the dynamic between the two speakers, the intimacy that Rosencrantz likely aimed to convey emerges. Listening to Hujar discuss trivialities, like avoiding putting too many pennies in his pocket, feels oddly both extravagant and mundane. This film isn’t exactly thrilling; some might see it as a time capsule of a vibrant New York City era when artists lived and worked alongside other communities. It also offers a quietly deep exploration of how we recount our life experiences. The narrative feels non-linear, circling back to drop in details, veering off into tangents, and revealing personal bits and memories, sometimes conjuring feelings that emerge only upon later reflection. This film captures a moment where a friend invites a man to share a snapshot of his existence.
Our Verdict: Peter Hujar’s Day has a niche appeal, possibly leaving some viewers wanting more. It may not resonate with everyone, and as someone who doesn’t entirely align with this film, I can still appreciate its artistic intent. If you appreciate experimental cinema, give it a watch.
