Los Angeles, the City in Cinema, my new series of video essays, examines the variety of Los Angeleses revealed in the films set there, both those new and old, mainstream and obscure, respectable and schlocky, appealing and unappealing — just like the city itself. Its debut pays a visit to the punks, drunks, thugs, loners, feds, and aliens — all driving cars, and rarely the flashy kind — that populate the 24-hour industrial Los Angeles of Alex Cox’s own 1984 debut, Repo Man.
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