On December 19, 1974, writer Linda Rosenkrantz visited her friend, photographer Peter Hujar, at his New York apartment. She asked him to detail his previous day, which included a rather difficult portrait session with Allen Ginsberg for the New York Times, a Chinese takeaway meal, and a visit from his friend Vince Aletti. He expressed concerns about unpaid work from Elle magazine.
Contrastingly, actor Ben Whishaw, who portrays Hujar in the upcoming film Peter Hujar’s Day, shared his own uneventful day via a video call. His typical evening involved finishing chicken he had cooked previously, enjoying a glass of wine, and falling asleep early. He mused that perhaps there is no such thing as a boring day.
The film, directed by Ira Sachs, immerses viewers in Hujar and Rosenkrantz’s long conversation lasting 70 minutes, featuring both lounging in Hujar’s flat with the familiar sound of a reel-to-reel tape machine. The script is derived from a transcript rediscovered in 2019 after Hujar’s papers were donated to New York’s Morgan Library. While Rosenkrantz is now 91, Hujar passed away from AIDS in 1987 at age 53.
Critics have hailed the film for its poignant representation of friendship and intimacy, showcasing Whishaw and Rebecca Hall’s outstanding performances. One critic described the film as a “masterpiece,” while others note that it may challenge some viewers with its slow pace. Whishaw remarked it could be experienced like an art video, where audiences can engage with it at their own pace.
Filmed at Westbeth, a Manhattan artist community where Hujar often worked, Whishaw appreciates the vibrant energy of New York. He enjoys attending concerts and visiting Julius, the oldest gay bar in the city. He fondly recalls that unlike in London, where bars can be overwhelmingly crowded, there’s always a seat available at Julius.
Whishaw worked nearly tirelessly on the film, memorizing 55 pages of dialogue while Hall had just three. He expressed a love for films that focus on ordinary moments, resonating with the intimate observations found in the diaries of Australian author Helen Garner.
Whishaw admires Hujar’s work, emphasizing its deep emotional engagement and the representation of a bygone queer New York, ravaged by AIDS. He finds Hujar’s attention to detail and refusal to compromise artistically moving. As he prepares for upcoming projects, Whishaw reflects on the loss of gay mentors, highlighting the emotional gap felt in the community due to the AIDS crisis, where many artists like Hujar ceased creating after their diagnosis.
