Photo: Sandans Institute
Can innovative logo graphics be a masterpiece? Perhaps it is not fair to call Peter Hogar Day Although the Ira Sachs movie, although Ira Sachs, in 76 minutes, wears its humility on his possession. It consists of a conversation between two people in the apartment of East Village, which was moderately filmed but compassionately, the image is discovered in its well and its warm simplicity. It starts as a height of Quitidian, but it turns into something sad and reflected.
The film is to re -create an interview that occurred on December 19, 1974, between the famous photographer Hogar (Ben Yoshou) and his friend, journalist Linda Rosenkarnz (Rebecca Hall), who intended to have a talk of a book about how different people spent their day. After taking notes about what he did the previous day, Hujar is accurate in his accountability, but his installation on the meaningless details seem to betray the photographer’s eye. Many of what he is talking about is an exchange of fire that was appointed with the poet Allen Ginsburg. But other names float throughout the conversation – Susan Sonag, William Borruz, Glenn Operen – in a New York way, where the conversation between two people usually becomes a conversation about dozens of other people.
It is not difficult to waste among all these names and ancdotes, but I think this is part of this point as well. SACHS is clearly moved by the love of this missing scene in the city center, and it transmits it a lot through its pictures and cut it as it does through the dialogue (which is taken directly from the Rosenkrantz version). As they speak, they move around different parts of the apartment. They make coffee, drink tea and eat cookies. They stand outside. They are a hall in bed. The light changes. Their clothes change. The Hujar is a strange way, and the warm glow of the sun’s sunset may reflect on the surface. The remote sounds from the street are drifting. They touch the legs and heads of each other, in a masculine and sensory way, albeit sexually. Such memories concerned are not exactly present, Peter Hogar’s road through the Linda Rosenkranz apartment. Instead, they excite memories of the sense of us all – we all understand light and warmth, and feel the touch of another person. Through this delicate sermon, this beautiful delicate movie begins to feel that something we may all experience once.
Whishaw should be done most heavy lifting, dialogue, but horror is equal in the way its silence is used. Hujar comes from Hujar, as well as ease around it. Whishaw gives Hujar the real quality, but there is a slight hint of sadness for him as well. It is full of anxiety about his art and work. (He says, Ginsburg’s exchange is his first job in New York Times.) Hell, it is full of anxiety from going to four blocks to another part of the village. But Whishaw, whose voice is one of the great wonders of modern cinema (there is a reason that makes him make such a good padington), transmits nervousness, hope, boredom and sadness at the same time.
The book Rosenkrantz has never been fulfilled, but it published an interview Hujar as its own folder after years, in 2022, which AIDS has long demanded the photographer. So the loss, in some way, is integrated into the concept of the film. The intimate relationship attracts us, as if we might know these people. At the same time, we also understand that we will never know these people. The maze of names and facts in the HUJAR account, the familiarity that it enjoys and Rosenkraantz with each other, and the way the astronomical light picked up at this moment, everything looks like something that has already disappeared. We are watching a worldly scene of a worldly scene – a man in a room related to events that can be often forgotten the previous day – but somehow, we also see the time arc in this quiet watch. Therefore, no, the movie may not be innovative logo graphics. There is a lot of letter, and a lot of care here. But it is a masterpiece.
