Shot in Gotland, Sweden, EVENTIDE is a 30-minute single take filmed as dusk turned to night during the annual Perseid meteor shower. From its stationary position, the camera records the slow entrance and exit of several figures exploring the rocky shore flashlights in hand. The rhythmic pacing of their explorations reveal a considered yet organic choreography of bodies slowly moving in and out of frame in the liminal space where land meets water, where day meets night, where earth meets stars. EVENTIDE, like much of Lockhart’s work, invites contemplation, asks us to consider what we see and hear. The film has a solemn, almost dreamlike quality, one heightened by the night sky, the silhouettes searching in the dark, and the overwhelmingness of nature.

Lunch Break features 42 workers as they take their midday break in a corridor stretching nearly the entire shipyard.

This non-narrative film depicts the routines of a girls' basketball team in a junior high school near Tokyo. Shot with a stationary camera, it consists of six ten-minute segments, some of which show the girls' routine exercises, others of which are choreographed.

Lunch Break features 42 workers as they take their midday break in a corridor stretching nearly the entire shipyard.

Set in a small town in the Sierra Nevadas, Pine Flat is a look at youth and a meditation on nature, socialization, and solitude.

Set in a small town in the Sierra Nevadas, Pine Flat is a look at youth and a meditation on nature, socialization, and solitude.

Five static shots of workers leaving a factory. Filmed in the spirit of the Lumiere Brothers.

Double Tide documents the work of a female clam digger in the mudflats of coastal Maine and is filmed on the rare occasion in which low tide occurs twice within daylight hours—once at dawn and once at dusk.

Filmed in real time and from a fixed camera angle, NО̄ creates a visual choreography from an everyday action. A Japanese peasant couple is bundling hay and later spreads it out again over the field. This action, which occurs in linear geometric precision from back to front and vice versa, ensures an observation of the landscape, perspective, light, and time. Lockhart’s work emerges as a landscape painting in real time.

Teatro Amazonas is an elaborate, intriguing formalist experiment investigating the cinematic gaze and cultural exchange, and offering an unconventional ethnographic record of its Amazonian subjects engaged (and disengaged) in the act of spectatorship.