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    <title><![CDATA[Ara in English - Ira Sachs]]></title>
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    <description><![CDATA[Ara in English - Ira Sachs]]></description>
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    <ttl>10</ttl>
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      <title><![CDATA[The essence of the counterculture, encapsulated in a 1974 conversation]]></title>
      <link><![CDATA[https://en.ara.cat/culture/the-essence-of-the-counterculture-encapsulated-in-1974-conversation_1_5656863.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/21864a85-da26-45a8-b5bc-343c4841fc5d_16-9-aspect-ratio_default_0_x572y194.jpg" /></p><p>It is quite possible that this year we will not see any film as enamored with the power of words as this one. <em>A Day with Peter Hujar</em> It recreates the conversations this photographer had with Linda Rosenkrantz over the course of a single day in 1974. Rosenkrantz's idea was for this intense conversation to be part of a collection of interviews chronicling 24 hours in the lives of different artists in 1970s New York. But despite being recorded, the encounter with Hujar took a long time to be published: it wasn't released as a book until 2021.</p>]]></description>
      <dc:creator><![CDATA[Joan Pons]]></dc:creator>
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      <pubDate><![CDATA[Mon, 23 Feb 2026 12:40:24 +0000]]></pubDate>
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      <media:title><![CDATA[Ben Whishaw on 'A Day with Peter Hujar']]></media:title>
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      <subtitle><![CDATA[In 'A Day with Peter Hujar', Ira Sachs recreates the conversations that the photographer had with Linda Rosenkrantz during a day in 1974.]]></subtitle>
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      <title><![CDATA[Ira Sachs: “'Pretty Woman' was the end of a certain type of cinema in Hollywood”]]></title>
      <link><![CDATA[https://en.ara.cat/culture/ira-sachs-pretty-woman-was-the-end-of-certain-type-of-cinema-in-hollywood_1_5312555.html]]></link>
      <description><![CDATA[<p><img src="https://static1.ara.cat/clip/89c2940d-0313-4062-81d5-2ab7880b52fd_16-9-aspect-ratio_default_0.jpg" /></p><p>The Film Library welcomed one of the season's most distinguished visitors this Tuesday: <a href="https://www.ara.cat/cultura/cinema-dozu-em-mostrar-cami_1_1492931.html" target="_blank">Ira Sachs</a> (Memphis, 1965) is an indispensable name in independent cinema of recent decades, a director who has been able to portray torrid passions in <em>Passages</em> (2023) or <em>Keep the lights on</em> (2012) but also the impact on our lives of more mundane issues such as being forced to change flats (<a href="https://www.ara.cat/cultura/amor-extrano_1_2862849.html" target="_blank"><em>Love is strange</em></a>, 2014) or the difficulty of managing material and emotional inheritances (<a href="https://www.ara.cat/cultura/cinema/verano-brooklyn_1_3853501.html" target="_blank"><em>Summer in Brooklyn</em></a>, from 2016).</p>]]></description>
      <dc:creator><![CDATA[Xavi Serra]]></dc:creator>
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      <pubDate><![CDATA[Wed, 12 Mar 2025 07:00:59 +0000]]></pubDate>
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      <media:title><![CDATA[Ari Sachs]]></media:title>
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      <subtitle><![CDATA[The Filmoteca is dedicating a retrospective to the filmmaker, guest of honor at the Americana Film Fest.]]></subtitle>
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