Neatly centered in a wide-screen frame, silent against the ambient drone of passing tra≈c, a pale rectangle of light hangs suspended in darkness. Four long fluorescent lightbulbs horizontally stacked at a slight diagonal pulse with erratic, hypnotic rhythm; a fifth has gone out, disrupting the symmetry. Next, a single bulb appears, positioned at the same angle, and a sudden swell of primitive dance beats rises on the soundtrack, quickly dispelled by the barking of a dog. More fluorescent lights follow, in varying arrangements and states of disrepair—these are the opening images of DRIVE THRU (2006).