Pic wisely presents its subject’s frustrations in small doses a lump-sum description of her struggles would have had a depressing effect. Certainly, this is the right place for Becket, who found that her life in New York didn’t allow her the freedom to pursue her dreams as a dancer and artist, and that a vacant auditorium in Death Valley provided her with a blank canvas to create her own brand of dance theater. culture with such a setting, but with “Amargosa” arriving at the same time as the acclaimed docu “Burning Man,” about the wild, pagan-like festival in the Nevada desert, old perspectives seem overdue for revision. Robinson structures his film in a series of time shifts from Becket’s present world in Death Valley to a past that seems to have happened on a different planet, emphasized by astonishing aerial and ground footage of the harshly beautiful desert environment surrounding the opera house.Īrt isn’t associated in U.S. Limned with finely observed biographical detail, story underlines Becket’s roots in the vibrant New York performance scene, educated in all of the arts and skilled at an astonishing number of them. One of the work’s most crucial contributions is to disprove the popular notion that septuagenerian Becket is a desert kook who long ago retreated from the mainstream to practice her primitive art.
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