FLAX’s Drive-In Theater returns to Tin Flats for a new season of double features on the last Monday of the month from April to October.
We’ve invited six artists and selected one of their films. Each artist then selects an additional film of his/her choice – a feature, a documentary, another artist’s video – echoing his/her work. Each month offers a new game of refraction and reflection through multiple lenses—from the artists’ screens to the cars’ windshields.
The screenings will include an informal discussion with the artists who are locally based or in residency.
Each screening has eight spots available for cars, which must be reserved in advance. Tickets for car spots will be released at the beginning of each month (click on each date to book). No reservation is required for open seating area outside of cars.
Screenings will begin after dark. Please refer back to our website for updates on times as the days get longer.
Each screening includes complimentary popcorn and iced tea.
1989 Blake Ave
Los Angeles, CA 90039
Monday, April 29
Doors at 7:30pm, screening at 8pm
Smith, Traum, 2016 (22 min) and IKARIE XB1 (Voyage to the End of the Universe) by Jindrich Polák, 1963 (88 min, Rated R)
In presence of Smith, FLAX Invites resident
Traum. Indeterminate epoch and country. At 21, Yevgueni is a young astronaut-technician. If he dreams of traveling in space, his employment consists of working at the heart of a launching base for space travel, as a spacecraft launching operator. At the particularly critical launch of an inhabited Soyouz shuttle, Yevgueni abruptly loses consciousness, which causes loss of contact with the team in orbit and the explosion of the spacecraft. Haunted by this catastrophe, Yevgueni progressively loses grip with reality and becomes contaminated by the trauma.
Ikarie XB-1 is a 1963 Czechoslovak science fiction film directed by Jindřich Polák, based loosely on The Magellanic Cloud, a novel by Stanisław Lem. It was edited and dubbed into English for release in the United States, where it is known by its alternative title, Voyage to the End of the Universe.
In the year 2163 the starship Ikarie XB-1 (Ikarus XB-1) is sent to the mysterious “White Planet” orbiting the star Alpha Centauri. Travelling at near-light speed, the journey takes around 28 months for the astronauts, although the effects of relativity mean that 15 years will have elapsed on Earth by the time they reach their destination. During the flight the 40-strong multinational crew must adjust to life in space, as well as dealing with various hazards they encounter, including a derelict 20th century spaceship armed with nuclear weapons, a deadly radioactive “dark star” and the mental breakdown of one of the crew, who threatens to destroy the spacecraft.
Monday, May 20
Arnaud Dezoteux, Dark Meta Reeves, 2016 (29 min) and Damon Packard, Foxfur, 2012 (61min)
In presence of Arnaud Dezoteux, FLAX Invites resident with the support of French Cultural Services.
Suitable for all audiences
Arnaud Dezoteux is interested in mainstream cultures and in the American movies that shape them. From the bright hills to the movie theaters, Hollywood productions create ecosystems, fantasies and even cults around characters or actors. The personality and the career of Keanu Reeves gave him a certain aura: both reserved and mythical, the actor who played memorable and mystic parts, now reigns, without intending to, over a powerful fandom.
The star is a source of inspiration as a role model, a subject of worship but also as a theoretical object. Indeed, in 2016, French artist Arnaud Dezoteux chose Keanu Reeves as the main theme of his exhibition at Galerie Édouard Manet of the Municipal School of Fine Arts in Gennevilliers (France). The exhibition was titled “Brise fraîche au dessus des montagnes”, in English “cool breeze over the mountains” which is the meaning of the name Keanu in the Hawaiian language. The movie Dark Meta Reeves was its main piece.
In Dark Meta Reeves, the main actor is Gavin, an American fan specialist of Keanu Reeves, who gets implanted with his idol within movies excerpts. Arnaud Dezoteux had to convince him to take part in this adventure, that made him the main actor and the co-creator of the film. Indeed, Gavin had to choose the excerpts he wanted to play in and extemporize all of his lines.
Monday, June 24
Mona Varichon, No I was thinking of life, 2018 (12 min) and second film to be announced.
In presence of the artist
Having spent the last year recording and translating telephone conversations with her mother in Paris, from French to English, Varichon subsequently created No, I Was Thinking of Life (2018) — twelve minutes of FaceTime nonspace projected single-channel onto a wall. Theirs is a conversation that fumbles in the dark, and not just over the monochrome black of the screen; long distance, loss, improvisatory laws, and bilingualism each tie in as evasive subjects that find family resemblance in their total lack of control and risk of miscommunication. It’s straight out of Elisabeth Kübler-Ross, who famously said, “I’ve told my children that when I die, to release balloons in the sky to celebrate that I graduated. For me, death is a graduation.”
– Sabrina Tarasoff
Monday, July 29
Anna Wittenberg, Skid Plate, 2018 (5 min) and second film to be announced.
In presence of the artist
Skid plates are thick, square plates of steel welded onto rear wheels that prevent the wheels from turning and force the car to slide like a sled. The lore is that they were in- vented (discovered?) when a couple of L.A. demolition derby guys slid plastic In-N-Out (a SoCal burger chain) trays under their back tires and skidded around the restaurant’s parking lot.
Old cars with cobbled-together parts, reused wheels, and skid plates on the back tires to make the machines slide and slip on the asphalt. The auto race with only one car is like a bullfight with one animal, a monstrous engine covered in scars like an old elephant, desperately fighting against the laws of gravity and speed, the aging facts.
– Marie de Brugerolles
Monday, August 26
In partnership with Gas
Performance by Sonja Gerdes and screening to be announced.
Monday, September 30
Samir Ramdani, Black Diamond, 2014 (40 min) and second film to be announced.
Black Diamond is the story of Kevin, a guy from South Central, working-class area of Los Angeles. Kevin has two problems: he is touched by a passion for art and he has a rapper in his head.
Monday, October 28
Maura Brewer, The Surface of Mars, (12min) and second film to be announced.
In presence of the artist
The Surface of Mars is a 2016 video essay that takes Ridley Scott’s 2015 film The Martian as a site of analysis. Combining appropriated footage, animation and voiceover narration, The Surface of Mars follows the actress Jessica Chastain, who plays the supporting role of Commander Melissa Lewis. The video compares Chastain’s character in The Martian to her work in two other films, Kathryn Bigelow’s 2012 film Zero Dark Birthday and Christopher Nolan’s 2014 film Interstellar. In each of these films, Chastain plays a similar type: a high-achieving career woman who is dedicated to the pursuit of a non-romantic male counterpart, from Osama Bin Laden to Matt Damon. In each case, Chastain’s role within the film speaks the language of popular feminism; her talent and work ethic has propelled her into a successful career in a male dominated field. She makes choices that drive the forward action of the plot. But Chastain’s superficial agency within the film is undermined by the institutions and structures that she operates within and on behalf of, from the state (the CIA, NASA) to her father (the CIA, NASA.) Jessica Chastain is always acting, but never under her own power.
This FLAX Project is supported, in part, by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; and the FLAX Creative Circle including The Skylark Foundation, Arthur Forney, Olga Garay English and John Mark Horton.