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Screening of the opening film of the Ira Sachs retrospective. The director himself will be in attendance for the introduction and a post-screening Q&A.

\n\n

Peter Hujar’s Day, Ira Sachs, USA, 2025, 76'

\n\n

In December 1974, photographer Peter Hujar met with writer Linda Rosenkrantz at her Upper East Side apartment and recounted his previous day in minute detail. Rosenkrantz’s planned book about how artists spend their time never transpired, but the remarkable exchange now comes to life in Ira Sachs’s enthralling new film starring the magnetic Ben Whishaw and Rebecca Hall. From day to night, in and around a New York interior, Whishaw-as-Hujar describes a nerve-wracking photo shoot with Allen Ginsberg and a phone call from Susan Sontag, among his daily goings-on. Sachs’s ingenious mise-en-scène explodes the conventions of the biopic and makes something extraordinary from the quotidian, where Hujar’s incisiveness and intensity vibrate alongside the intimacy of the shared moment. Peter Hujar’s Day is a pure expression of a period in Downtown New York that continues to thrive in the public imagination, while vividly evoking the creative mind of a singular artist.

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Every Saturday throughout July and August, we will be able to watch one of the nine feature films that currently make up his filmography.

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Artistic research project and community archive on forced migration, collective memory, and institutional counter-narratives.

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Nabil Aniss is a filmmaker whose practice explores the complex relations between political liberation, insurrection, and the mystical rituals of Morocco's Brotherhoods.

\n\n

Aniss whose filmmaking interweaves documentary, poetry, archival found material and his own shot images, which collectively explore the transformative power of sounds, movements, trances, and self-mutilation in shaping marginalised individuals into catalysts for sedition and liberation, awakening exhausted and fragmented diasporic bodies into a collective consciousness primed for political action.

\n\n

Through his work and research, he captures the politics of liberation through documenting Brotherhoods such as Gnawa, Hmadcha, Jilala, and Issawa—communities descended from West African enslaved people forcibly brought to Morocco.

\n\n

As a child, Aniss attended Gnawa rituals, where dance, music, trance, and self-mutilation intertwined suffering with the sacred.
\nHis video practice offers an intimate glimpse into the Brotherhoods' imaginaries, proposing an affective and conceptual framework where the anguish and sorrow of the oppressed individual become an aesthetic force that paves the way for liberation.

\n\n

 

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She works as an editor, teacher and archivist. From an early age her training was in the field of arts and social sciences. She studied at the Escuela Nacional de Experimentación y Realización Cinematográfica (ENERC), in Buenos Aires, Argentina and more recently at the Elias Querejeta Zine Eskola, in Donostia, Basque Country.
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\nIn 2019 she founded a documentary filmmaking workshop, ‘La Paloma’ in a Penitentiary Unit in the province of Buenos Aires.
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