In 1974, renowned author Linda Rosenkrantz engaged in a unique project with the groundbreaking queer photographer Peter Hujar. As part of this initiative, she invited her subjects to document their experiences throughout a single day, followed by an in-depth conversation about their reflections. Although the interview wasn’t utilized at the time, the rediscovered transcript years later served as the foundation for her book Peter Hujar’s Day (2022). This literary work has now inspired a feature film, bringing to life the vibrant New York arts scene of the 1970s, a period described as one where “no one was making any money,” by director Ira Sachs. The film features Ben Whishaw portraying Hujar and Rebecca Hall as Rosenkrantz. Titled Peter Hujar’s Day (2025), it contributes to this year’s lineup at the New York Film Festival, showcasing the struggles and triumphs inherent in the life of an artist.
The New York arts landscape takes on a more literal persona in the short film “Doomed and Famous” (2025). This piece features a cinematic walkthrough of the Lower East Side’s Miguel Abreu Gallery, specifically revolving around its 2021 exhibition of the same name. The film succinctly blends the thoughts of curator Adrian Dannatt as he guides the viewer through selections from his collection, spotlighting works by prominent artists such as Nan Goldin, Isamu Noguchi, and Picasso, thus intertwining curation with personal memoir.
This year’s NYFF also presents a fresh cycle of biographical films highlighting artists and entertainers. Among them are features about Bruce Springsteen, lyricist Lorenz Hart, and the comedy team of Jerry Stiller and Anne Meara, directed by their son Ben Stiller, as well as a miniseries focused on Martin Scorsese (all 2025). Notably, Nouvelle Vague (2025) offers a reconstruction of the production of Jean-Luc Godard‘s iconic film Breathless (1960), serving as both a tribute to the eponymous cinematic movement and featuring cameos from many key figures from that era. While Godard may not appreciate such a sentimental portrayal, the film underscores how Breathless retains its brilliance even after decades.
Additionally, the festival brings forth a restored cinematic biography that delves into archives. Originally released in 1985, Robert Wilson and the Civil Wars has undergone a meticulous restoration process spanning 12 years. This documentary chronicles the creative journey of the influential experimental theater director Robert Wilson as he aims to produce a grand opera for the 1984 Summer Olympics, a mission complicated by the challenge of coordinating six composers across different nations.
Certain films are artistic not only in content but also in form. Sharon Lockhart‘s latest work, Windward (2025), features twelve extended outdoor tableaux set around the shores of Fogo Island in Canada, where the tranquility of the visuals intensifies the significance of environmental shifts and human interactions. Similarly, filmmaker James Benning, known for his landscape proficiency, presents Little Boy (2025), which showcases close-ups of post-World War II toys being painted and assembled. Overlaying this, sound bites of political speeches, including Eisenhower’s farewell address, imbue the scenes with a haunting resonance, suggesting the innocence of these childhood pleasures is underpinned by darker power dynamics.
Furthermore, Kahlil Joseph premieres a film evolving from his 2020 installation project “BLKNWS,” which envisioned an innovative news platform tailored for Black audiences, addressing the pervasive racism within mainstream news outlets. Following its successful exhibition during the pandemic, Joseph expands this concept into a feature-length film titled BLKNWS: Terms and Conditions (2025). Collaborating with artists like Arthur Jafa and Garrett Bradley, Joseph’s film showcases transformational “news segments” that range from speculative future space missions to the life retelling of W.E.B. Du Bois.
In many respects, the environment confronting today’s artists in New York is even more challenging than that faced by Peter Hujar fifty years ago. In a contemporary echo of that struggle, Drunken Noodles (2025) depicts the romantic journey of a young Argentinian art student venturing to new continents in pursuit of urban dreams. Perhaps in the 103rd edition of this festival, fifty years from now, this film will find itself in the Revivals section, while another will chronicle the reality of being a New York artist in the year 2075, continuing the eternal narrative of artistic aspiration.
The New York Film Festival kicks off on September 26 and runs through October 13 at various venues across New York City.
