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The Art of the Everyday: Peter Hujar’s Day and the Beauty of a Vanishing Moment

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Peter Hujar’s work has always carried an aura of stillness: photographs that seem to breathe, portraits that reveal as much about the viewer as they do the subject. In his newest film, Peter Hujar’s Day, filmmaker Ira Sachs channels that same quiet electricity. Adapted from Linda Rosenkrantz’s 2021 book of the same name, the film distills a single day in the photographer’s life into an intimate, searching character study, anchored by exquisite performances from both Ben Whishaw and Rebecca Hall.

Tune into Inside the Arthouse to hear Sachs discuss his latest project with co-hosts Greg Laemmle and Raphael Sbarge ahead of its release at the Laemmle Royal on Friday, November 7th, followed by the Glendale on Nov. 14th. Director Ira Sachs and author Linda Rosenkrantz will participate in a Q&A following the 5:10 p.m. show on Sunday, Nov. 9 at the Royal.

Whishaw plays the legendary photographer not as a mythic figure, but as a fully lived-in presence: mercurial, tender, impatient, sharp, and unexpectedly funny. The film invites us into his rhythms—late mornings, cigarettes, half-finished thoughts, bursts of creative clarity—skillfully capturing the myriad subtle ways that an artist’s mind moves through the world. Sachs resists nostalgia or biography-by-checklist; instead, he constructs a film that feels observational, almost diaristic, as if we’re seated in the room beside Hujar, absorbing the day as he does.

Much of the film’s texture comes from the presence of Linda Rosenkrantz, played with luminous precision by Rebecca Hall. Rosenkrantz, a close friend and confidante of Hujar’s, recorded conversations with him in 1974 that later became the foundation of her book. Hall captures her subject’s mixture of curiosity, affection, and intellectual playfulness, qualities that draw Hujar out and give the film its emotional backbone. Through their dialogue, we glimpse two artists who understand each other deeply, even (perhaps especially) when they challenge each other’s ideas and modes of being.

Visually, the film mirrors Hujar’s own aesthetic. The camera lingers on faces, gestures, light falling across skin, and moments that feel simultaneously spontaneous and carefully composed. Music is used sparingly, giving the film a contemplative hush that heightens the emotional subtlety of Whishaw’s and Hall’s performances.

Rather than offering a sweeping biography, Peter Hujar’s Day stays tightly focused on a microcosm: one day, one set of conversations, one friendship that mattered enormously. In that narrow frame, Sachs finds something expansive that speaks to the fragility of creative lives, the intimacy of collaboration, and the fleeting, miraculous nature of artistic clarity.

“Imagine if My Dinner With Andre allowed for the characters to continue talking away from the table.” – Monica Castillo, RogerEbert.com

“[A] salute to the hidden transcendence of the everyday.” – Owen Gleiberman, Variety

“Whishaw and Hall forego showiness for a quiet, shorthand-filled take on these old bohemian pals.” – David Fear, Rolling Stone

Köln 75: Capturing the Inner Jazz of a Cultural Revolution

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Köln 75 is a vibrant, freewheeling portrait of artistic rebellion and creative awakening. Directed by Ido Fluck, the film takes its cue from a real moment in music history: Keith Jarrett’s legendary 1975 concert in Cologne, one of the most celebrated improvisations in modern jazz. But rather than simply re-staging that night, Köln 75 channels the spirit of improvisation itself, capturing the electricity, uncertainty, and sheer creative risk that defined both Jarrett’s performance and the turbulent decade that surrounded it.

Tune into Inside the Arthouse to hear Fluck discuss his latest project with co-hosts Greg Laemmle and Raphael Sbarge ahead of its opening at the Laemmle Royal, Glendale, and Town Center on October 24th.

At the film’s center is Vera, played with irresistible energy by Mala Emde (And Tomorrow the Entire World). A twenty-something radio intern in a West German city alive with possibility, Vera sees in Jarrett’s upcoming concert not just a performance, but the beginnings of a cultural revolution. As she darts through offices, streets, and smoky clubs, Vera becomes both participant and chronicler, a conduit for the collision of politics, art, and desire that defined a generation. Her encounters with Jarrett—portrayed by a terrific John Magaro not as a distant icon but as a restless, searching artist—become the emotional and philosophical core of the story. Through him, the film explores how creative breakthroughs often emerge from exhaustion, frustration, and the willingness to abandon control.

Fluck’s direction mirrors the very language of jazz: fluid, unpredictable, and alive with syncopation. The editing moves like a riff: sharp one moment and lingering the next, shifting tone without warning yet always staying true to its emotional tempo. Like Jarrett’s own playing, the film finds beauty in imperfection, turning chaos into harmony through sheer instinct.

Ultimately, Köln 75 emerges as a deeply affectionate ode to the messy process of finding one’s voice. In its most luminous passages, as Jarrett’s chords ripple through the screen and Vera’s world expands in response, the film reminds us that the purest acts of creation—like the purest notes of jazz—exist only in the fleeting, miraculous moment they are born.

“A vivid vehicle for a dynamic, often very funny Emde who, at 28, is convincing as a wide-eyed, sharp-mouthed teenage force of nature.” – Jonathan Romney, Screen International

“Much like the musical genre that it depicts, Köln 75 is an unpredictable and non-conformist drama about the budding jazz scene in 1970s Berlin.” – Jack Walters, Loud & Clear Review

With Chain Reactions, director Alexandre O. Philippe takes audiences back through Hooper’s beloved masterpiece frame by gruesome frame

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Tune into Inside the Arthouse to hear director Alexandre O. Philippe discuss Chain Reactions (releasing at the Laemmle NoHo 7 on September 19th) with co-hosts Greg Laemmle and Raphael Sbarge

Few horror films have left as deep an imprint as Tobe Hooper’s The Texas Chain Saw Massacre. Half a century after its 1974 debut, the film remains a touchstone for fans and filmmakers alike, continuing to disturb, arouse, and alienate in equal measure. With Chain Reactions, director Alexandre O. Philippe—long known for his thoughtful explorations of iconic cinematic moments—takes audiences back through Hooper’s beloved masterpiece frame by gruesome frame in an extensive deep dive into how the film continues to rattle and inspire.

Philippe has carved a niche for himself with documentaries that magnify individual films from unusual angles. 78/52 explored not all of Psycho, but specifically its infamous shower scene. Memory: The Origins of Alien looked not only at Ridley Scott’s classic, but at the deep cultural and artistic roots of its terror. Chain Reactions continues in this vein by giving the floor to five prominent cinephiles, each with their own unique relationship to Hooper’s landmark horror.

The lineup befits the stature of its subject: writer and comedian Patton Oswalt, Japanese filmmaker Takashi Miike, critic Alexandra Heller-Nicholas, legendary novelist Stephen King, and director Karyn Kusama. Each interview is presented in full, creating a kind of oral history told in parallel lines.

While the documentary refrains from attempting to weave these voices into a single argument or narrative, that separation becomes part of its design. Instead, viewers are invited to treat each reflection as its own isolated story, bound together not by commentary from Philippe, but by the footage itself: battered 16mm prints, drive-in reels, VHS transfers, pristine restorations, and beyond.

Ultimately, Chain Reactions doesn’t try to be more than it is: five passionate people talking about a film they love. As it makes its way into theaters, the documentary stands as both a tribute and a reminder that some shocks never fade.

“An investigation into how one horror movie made for, as King puts it, “chump change,” went on to become one of the most influential films of all time.” – Emma Kiely, Collider

“Exploration of our inexplicable attraction to horror is the true theme of the brilliantly titled Chain Reactions.” – Christian Zilko, Indiewire

“Not only solidifies how a film as iconic as Texas Chain Saw Massacre remains that way, but how, even decades later, we’re still finding unique burrows within it to explore.” – Spencer Perry, ComicBook.com

ANY DAY NOW, a new indie film inspired by an unsolved $500 millon art heist, opens Friday at the Monica Film Center

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On March 18, 1990, thirteen works of art were stolen from Boston’s Gardner Museum. Thirty-five years later, the case remains unsolved. No arrests have been made, and not a single piece of art has been recovered. The $500 million theft, regarded as the largest property crime in history, continues to capture the world’s attention.
Any Day Now is a new indie film inspired by the unsolved theft of these 13 masterpieces. To market the project, the team launched a bold pop-up gallery stunt in New York, inspired by the film’s true-crime art heist plot. The opening night party blurred fiction and reality for both invited guests and passerby, culminating in an FBI “raid” where agents dramatically “seized” a Rembrandt.
Now, the show that caused a ruckus in New York has come to L.A. Visit the viral 13 Masterpieces at the lobby of the Laemmle Monica Film Center and get tickets to see Any Day Now in the theater opening 8/22. For a limited time only.
Click here to read Deadline’s article ‘Any Day Now’: How Eric Aronson Artfully Marketed His Indie Heist Movie + Exclusive Clip and watch the recent Inside the Arthouse interview with Aronson and lead actor Paul Guilfoyle.

IT’S NEVER OVER, JEFF BUCKLEY opens Friday at the Laemmle Glendale and NoHo with in-person director Q&A’s and rare concert footage.

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You may not be familiar with Jeff Buckley’s name. But you almost certainly have heard his haunting cover of Leonard Cohen’s “Hallelujah,” a song which was named to Rolling Stone Magazine’s list of the 500 Greatest Songs of All Time and has been inducted into the Library of Congress’s National Recording Registry.

In her latest documentary, It’s Never Over, Jeff Buckley, Oscar-nominated filmmaker Amy Berg explores the singer’s story and impact.

Tragically, Buckley drowned while swimming in the Wolf River in Memphis just as he was about to start work on his second album. But his stature as a singer and songwriter has only grown in the years since his early death at the age of 31. Acclaimed by musicians like Bob Dylan, David Bowie, and Jimmy Page, Buckley’s life and legacy is being given a thoughtful and thorough review in this new documentary — which includes a treasure trove of archival material, candid interviews with the man’s family, friends, lovers and collaborators. We emerge from the film with a greater understanding of the forces that shaped his artistic aspirations and an appreciation for all that he accomplished in his short life.

Ms. Berg will participate in Q&A’s after the 4:00 P.M. screening at the Glendale on August 10 and the 7:00 P.M. screening at the NoHo on August 11. You can also watch or listen to an interview with her on a recent episode of Inside the Arthouse. We will also open the film on August 15 at the Monica Film Center.

All of the screenings in Glendale and North Hollywood will feature special bonus footage. Very few people were fortunate enough to witness Buckley live, but those who did often described it as transcendent, jaw-dropping, and emotionally shattering. As part of the theatrical release of It’s Never Over, Jeff Buckley, Magnolia Pictures proudly presents 26 minutes of exclusive, remastered footage from a rare solo performance at The Middle East in Cambridge, MA, filmed on February 19, 1994. This previously unreleased set will screen immediately following the film, offering both longtime fans and newcomers a rare opportunity to experience Buckley’s raw, unfiltered brilliance.

“Pays tribute to one of the greatest singers ever…Buckley hasn’t had a million portraits sketched of him, much to this degree. The singularity of It’s Never Over, along with the access and the candor, makes up for a lot here.” ~ David Fear, Rolling Stone

“The film is a resonant depiction of the gaping holes left by Jeff Buckley’s untimely death.” ~ Chris Barsanti, Slant Magazine

“Offer[s] a unique perspective on the varying music of the 1990s, an experimental time where lonely artists like Buckley could buck the system and create a new brand of music.” ~ Matthew Creith, TheWrap

“As we drink in the majesty of his voice, the film lays bare a paradox about him that isn’t nearly as apparent if you just listen to Grace (1994), the only album he ever released.” ~ Owen Gleiberman, Variety

“A stirring tribute made with a lot of heart.” ~ David Rooney, Hollywood Reporter

“Gut-wrenching.” “Harrowing.” “Groundbreaking.” “Haunting.” “Absolutely essential.” 2000 METERS TO ANDRIIKA opens Friday at the Monica Film Center.

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The war in Ukraine may no longer dominate the U.S. headlines, but the brutal fight for freedom continues — and brave filmmakers are risking everything to tell the world what’s really happening on the front lines.

Oscar-winning Ukrainian filmmaker Mstyslav Chernov, who won Best Documentary Feature for his 2023 Academy Award-winning film 20 Days in Mariupol, returns with his powerful new documentary 2000 Meters to Andriivka. This gripping film captures the intense 2023 battle to drive Russian forces out of the small village of Andriivka, Ukraine.

Listen to an interview with Chernov on Inside the Arthouse. He will also participate in an in-person Q&A after the 7:10 P.M. screening at the Monica Film Center on July 30. Writer-director Tony Gilroy (Michael Clayton, Andor) will moderate.

Using raw body cam footage, immersive drone shots, and frontline cinematography, Chernov delivers an unflinching look at the courage, sacrifice, and reality of Ukraine’s ongoing fight for survival. Masterful editing transforms chaotic combat into a clear, deeply human story that demands to be seen — and felt.

As difficult as it can be to watch at times, 2000 Meters to Andriivka reminds us why frontline documentaries are more vital now than ever, leaving us wiser and more inspired from the experience.

“The Ukrainian photojournalist and film-maker Mstyslav Chernov stunned us with his eyewitness documentary 20 Days in Mariupol… His new film is if anything more visceral, with waking-nightmare images captured in pin-sharp 4K digital clarity.” ~ Peter Bradshaw, Guardian

“Regardless of its wider effect, it’s probably the most powerful film that will be seen in cinemas this year, and for that reason alone is absolutely essential viewing.” ~ Nick Howells, London Evening Standard

“Chernov asks us to simply observe, and know that these men aren’t just characters on a screen or pawns in a story. He wants us to see what they saw.” ~ Alissa Wilkinson, New York Times

“A groundbreaking view of the horror and pity of war, I can’t remember a cinematic experience quite like it. It’s devastating and extraordinary.” ~ Philip De Semlyen, Time Out

“War is hell, it says, and we’re all doomed. It might be the year’s most important film.” ~ Kevin Maher, The Times (UK)

“Andriivka is a less tersely journalistic and more pensively devastating work than Mariupol: a film of its moment, and an agonizingly extended moment at that.” ~ Guy Lodge, Variety

“Chernov’s gut-wrenching doc is a reminder of the heroics and cost of this brutal war.” Peter Howell, Toronto Star

“A harrowing first-person view of a ceaseless nightmare, defined by both blistering immediacy and crushing sadness.” ~ Nick Schager, The Daily Beast

“2000 Meters to Andriivka is perhaps less instantly harrowing than 20 Days in Mariupol. But its haunting impact may go further toward reshaping viewer perceptions of the ongoing conflict.” ~ Daniel Fienberg, Hollywood Reporter

Repertory Cinema Lives! Bruce Goldstein on Film Forum, Rialto Pictures & restoring movie history.

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The latest episode of Inside the Arthouse features a luminary of the American indie, art house, and repertory exhibition scene, Bruce Goldstein. From the ITA website:

At Inside the Arthouse, we love discovering bold new voices and emerging filmmakers. But there’s something uniquely rewarding about revisiting a classic—whether it’s an old favorite or a legendary film you’ve always meant to watch. And seeing these films on the big screen in a real movie theater is the way they were meant to be experienced.

Repertory cinema in the U.S. has faced its share of challenges, from the rise of home video and streaming to rising urban real estate costs. Many iconic rep theaters have closed. But in recent years, there’s been a revival of interest in classic and cult films, shown theatrically in new restorations and 35mm prints.

One of the most influential figures in this movement is Bruce Goldstein, longtime repertory programmer at Film Forum in New York City and founder of Rialto Pictures. For over 50 years, Bruce has been a champion of film history—curating, restoring, and re-releasing cinematic landmarks. In early 2025, Rialto re-released Claude Lelouch’s A Man and a Woman, and coming soon is Forbidden Games, brand-new 4K restorations of Jean-Jacques Beineix’s Diva, [and, from Janus Films, The Lovers on the Bridge].

We sat down with Bruce Goldstein in New York to talk about the past, present, and future of repertory film programming in the U.S.—and how he’s helped shape what American audiences get to see on the big screen.

Greg Laemmle on DON’T LET’S GO TO THE DOGS TONIGHT.

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This week we’re opening the new drama Don’t Let’s Go to the Dogs Tonight at the Royal. We’ll expand the engagements to all but one of our our other venues around L.A. County the following week. Laemmle Theatres president Greg Laemmle saw the film and loved it so much he was able to secure an interview with the filmmaker/co-star, Embeth Davidtz on his and Raphael Sbarge’s podcast Inside the Arthouse. He wrote the following to introduce the episode:

“As part of producing Inside the Arthouse, we see a lot of movies. And while many are compelling and well-made, naturally some of them stand out. Of all the films we’ve seen so far this year, Don’t Let’s Go to the Dogs Tonight has definitely moved to the top of the list.

“Based on Alexandra Fuller’s memoir of the same name, Don’t Let’s Go to the Dogs Tonight captures the childhood of eight-year-old Bobo on her family farm in Zimbabwe (formerly Rhodesia) at the end of the Zimbabwean War for Independence in 1980. Growing up in the midst of this long-running war, Bobo internalizes both sides of the struggle. Conflicted by her love for people on opposing sides, she tries to make sense of her life in a magical way. Through her childish gaze we witness Rhodesia’s final days, the family’s unbreakable bond with Africa, and the deep scars that war leaves on survivors.

“This powerful film has been brought to the screen by first-time director Embeth Davidtz. An actress who has worked with filmmakers like Steven Spielberg, Robert Altman, and Sam Raimi, Ms. Davidtz draws from her own experiences growing up in apartheid South Africa to bring striking authenticity to the story of a family of white farmers in Zimbabwe.

“The film is told through the eyes of young Bobo — played with extraordinary depth by newcomer Lexi Venter — as she witnesses the political upheaval in a land on the brink of change.

“A hit at the prestigious Telluride and Toronto International film festivals, Don’t Let’s Go to the Dogs Tonight is opening on July 11 in New York and Los Angeles before rolling out nationally.

“You won’t want to miss our conversation with Ms. Davidtz where we discuss her journey from actor to filmmaker and the challenges of adapting this beloved memoir — on Inside the Arthouse.”