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Lunch Break (2008) Sharon Lockhart

proletarian Travelling

The last film of the artist, photographer and filmmaker Sharon Lockhart American, is without definitely one of the most interesting, bold and daring of the last decade, could disrupt our perception of film images and aprehesión of filmic time and space. This Lokhart

wheel a long tracking shot through a narrow corridor in the Bath Iron Works shipyard, in the state of Maine, while their workers take a break from their activities.

The film consists of a single 83-minute sequence shot where the camera moves very slowly leaving behind the other factory workers who perform the most mundane and trivial activities: eating, reading or conversation. Behind this apparent simplicity and triviality is any act of political and social denunciation, aware that for companies, the rest of their workers is a drop in productivity and therefore profits. Sharon Lockhart decided to record this lull in production work, after more than a year following the activities employees of the factory. That moment of respite and pause is expanded to the limit, creating a sense of temporary suspension, where a moment (10 minutes) becomes an eternity (83 minutes). The method used has no mystery, slow down the image in postproduction.

This idea of \u200b\u200bthe suspension and time dilation was present in some works of his mentor, mathematician documentarian and James Benning, example would be that wonderful plane 11 x 14 (1977) where two naked women fondle on a bed. A fleeting moment of love lesbian expandandido, creating a strange beauty and a kind erotic distancing the viewer.

And if one of the qualities of James Benning's work is the ability for the viewer to see things in another perspective, his disciple takes over, and as the camera moves down the long hallway, in a slow but steady Lockers and employees leaving the viewer is immersed in a unique time-space experience, where the monotony and everyday life in an act intranscente theory acquires a new relevance and meaning in front of our eyes.

That feeling of weightlessness that runs the only plane-impossible not to think at the beginning of Millennium Mambo (2002) Hou Hsiao-Hsien is accompanied a soundtrack composed by Becky Allen in collaboration with James Benning, made from industrial sounds, voices and music, that help create a greater sense of spatial depth and temporal lightness. And is that one of the most amazing time occurs when through a radio hear a song from Led Zeppelin, resulting in a shocking break the monotony and quiet of the whole plane.

a phrase never did more justice: A dolly is a moral issue.