"Teatro Amazonas" (1999) is set in the eponymous opera house in Manaus, Brazil, which one might remember from Herzog’s “Fitzcarraldo” (1982), and consists of a single half-hour shot filmed in 35mm of a native audience listening to a piece of avant-garde music (scored by Becky Allen). As the film progresses, the voices of the audience completely overpower the vocals of the music in the same way our concentration is distracted by the length of the shot. The camera is on the stage and observes the audience head on, essentially making the film screen a portal of sorts through which cultural exchange – between two worlds, one might say – takes place. One is reminded of Kiarostami’s “Shirin” (2008) in the way the screen additionally acts as a mirror where one audience – watching Lockhart’s experimental work – resembles the other – listening to Allen’s experimental work. Being set in South America, the reversal of the subject-audience relationship here elicits other intriguing responses from us as well. Lockhart’s camera places us on the stage, with the Native American audience staring at us, and hence manages to reverse the colonial gaze (if one makes the fairly questionable assumption that the audience is predominantly European/North American). The “colony-wise” credits at the end only compound this revisionism. In that sense, each passing minute ratchets up the tension instead of accustoming us to the new space. Although Lockhart’s films don’t possess such overt political objectives, this particular film works on such an extreme Brechtian level that such a response doesn’t seem invalid.
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