LUNCH BREAK

从1990年底开始，导演Sharon Lokhart一直工作在摄影和拍摄的领域。在一次人类学的探索过程中，她开始对使他人陷入陷阱这种行为产生了质疑。《午餐时间》，是在缅因巴斯的海军基地拍摄的，目的在于为此项研究服务。Lokhart决定将自己现在在同一时间内的一个空间内，就是电影中用一个缓慢的移动镜头所拍摄的场景|：员工们的午餐时间—坐在机器之中长长的走廊上，打开饭盒开始吃饭。接下来是一些琐碎的镜头：人们吃饭、读书、闲聊。就像一幅工厂生活的壁画。电影在紧张和轻松之间来回摇摆。观众会很快意识到，工人们不会离开工厂，但也不会融入其中，成为工厂的一部分，这种情况就像被困在琥珀中的昆虫。
A frame slowly comes into focus; staged stillness the journey of photography to cinema and the reverse. Since the end of 1990, the Amercian Sharon Lokhart has been at the forefront of both photography and cinema, questioning one medium while placing the other at risk through her projects with an anthropological approach. Lunch Break, shot in a US Navy base in Bath, Maine, is informed by this research. With her point of view clearcut, Lokhart choses to confine herself to one place, one space in time: the lunch break of the workers, who sit opening their lunch boxes all the way along an interminably long corridor midst the machines, is filmed in a single, slow motion travelling shot. We follow this chain of little sketches; people having their snacks, but also reading, biding this dead time on their hands, exchanging inaudible tittle tattle. A condensed fresco of factory life, the film oscillates between focused concentration and diffused attention, between indulgent sweeping shots and delving deep into the social space. We soon grasp that the workers won’t ever leave the factory, but have become part of it, without being involved, caught up like insects trapped in amber granting them a few final flutters.
The film is reminiscent of Wavelength by Snow, a long zoom before diving into a photograph. But Lokhart swaps the zoom for the travelling shot and digs deep into this opaque space testing real life as a medium. Repetitions and variations are set against a soundtrack by Becky Allen and James Benning which mixes music, voices and industrial sounds. Lockart invites us to partake in the asceticism of her take on life, its duration renders it solid, material. Like an exercise in observation the film reminds us of the infinite possibilities of bringing together the banal and the sublime, our aesthetic experience and social issues – an inexhaustible task, an ever-present challenge.

马赛国际纪录片电影节特别提名

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