Things to do in Los Angeles on Friday

This display of film and video art, billed as “a sweeping odyssey into the depths of human experience,” has taken over all six stories of the abandoned, historic Variety Arts Theater in Downtown L.A. (the theater served as the setting for this past Halloween’s immersive haunt Delusion, and the expansive space was as impressive as the production itself). Over a century of visual storytelling is explored, blurring the line between visual art and cinema. The contemporary video works by artists including Marina Abramović, Doug Aitken, Chris Burden, Cyprien Gaillard, Arthur Jafa and Precious Okoyomon—juxtaposed with cinematic works by the likes of Walt Disney and Georges Méliès—come from the time-based art collection of the Germany-based Julia Stoschek Foundation. It’s the first time JSF has presented a show in the U.S. The show is provocative and thought-provoking without being preachy. Stoschek encourages guests to get lost within the space, and notice what feeling they walk away with. Traveling through the theater feels like a treasure hunt—you follow dark corridors and peek around corners to find hidden artworks and cozy seating. Be sure you take the time to explore the basement, which was my favorite part of the exhibition. But the most arresting piece is the centerpiece of the show: Jafa’s Apex, a montage that’s screened on the theater’s massive screen. Within 8.5 minutes, it flashes 841 images edited to an unsettling, monotone score: Comics and pop culture are juxtaposed...

Ponyo loves Sosuke! And we love this exhibition at the Academy Museum dedicated to the wholesome Hayao Miyazaki film. Studio Ghibli donated more than 100 objects to the Academy Collection, and you’ll find everything from an animation desk to colorful art boards to dozens of frame-by-frame pencil drawings of the scene when Sosuke first finds Ponyo. Though you may recognize a couple of items from the museum’s debut Hayao Miyazaki retrospective, the vast majority of Ponyo pieces are new—and some have never been displayed in North America before. It’s also a colorful and super kid-friendly exhibition; you can watch clips of the gorgeously hand-drawn movie, recreate the wave-running scene and even make your own stop-motion animation. You’ll find it on the museum’s second floor, inside the first few galleries of the “Stories of Cinema’ space.

It doesn’t matter if you win by an inch or a mile—or if you’re more of a fan of the street racing and respect era or heists and hackers phase of Fast & Furious: There’s plenty of familiar motorized might to behold at this Petersen Automotive Museum exhibition honoring the high-adrenaline film franchise. You’ll find roughly 20 screen-used cars and production prototypes—including ones on loan from Vin Diesel’s private collection, as well as from the late Paul Walker—on display in the second floor of the Miracle Mile museum. It’s a very Fast & Furious kind of year in L.A. between Universal Studios’ roller coaster and this 25th anniversary exhibition. While the Petersen’s exhibition is certainly encyclopedic (the selections here span the entirety of the franchise, with a particular focus on the first three films), it’s not overly academic: Brief labels will let you know the story behind the stunt car you’re staring at, but this is ultimately an opportunity to ogle American muscle cars and custom Japanese imports (as well as the franchise’s melodramatic quotes about family). Highlights on display include the 1993 Toyota Supra “Stunt #3” and 1995 Mitsubishi Eclipse driven by Brian O’Conner (Paul Walker) in the original film, Dominic Toretto’s (Vin Diesel) 1968 Dodge Charger R/T and 1993 Mazda RX-7, and Suki’s (Devon Aoki) very pink 2001 Honda S2000.

Support women-owned restaurants and dine at some of L.A.’s best spots during the return of this annual food fest in honor of Women’s History Month. Regarding Her's festival will offer themed menu specials, cooking classes, convos and collabs from women restaurateurs all month long. Highlights from this year’s lineup include La Festa Della Donna, a special International Women's Day celebration at Smorgasburg (Mar 8); the Echo Park Bop, a walking food and drink tour of 10 women-owned restaurants including Quarter Sheets, Bakers Bench, Bar Flores, Tsubaki, Little Fish and Valerie Confections (Mar 22); Maydan Market Monday (Mar 23); the return of All Day Baby via a biscuit pop-up (Mar 28); and a women-powered Lincoln Avenue Parking Lot Party Benefit for Altadena (Mar 29). You’ll also find other fun one-offs on the calendar, including a cacao tasting at the Chocolate Dispensary (Mar 12) and a “Sweetcute” ice cream social at the Very Best Cookie in the Whole Wide World (Mar 21). Check the website for the full lineup.

The reopened Getty Villa will descend into the underworld with this exhibition, which looks at the ritual spells and religious writings ancient Egyptians employed to garner favor with Re and Osiris in the afterlife. See the Getty’s collection of rare Book of the Dead rare hieroglyphics-adorned and illustrated manuscripts, dating back to around 1000 BCE, which were last displayed in 2023. The show should dovetail nicely with the museum’s “Sculpted Portraits From Ancient Egypt,” which runs through January 2027.

When Mexican director Alejandro G. Iñárritu made his debut feature, Amores Perros, over a million feet of film didn’t make it to the final cut (to put that into perspective, the finished two-and-a-half-hour movie used around 18,000 feet of film). Twenty five years later, some of these unearthed reels of celluloid now zip through a ground-floor gallery at LACMA as part of a multi-channel film installation. As much a piece of sculpture as it is film or video art, Sueño Perro assembles six 35mm projectors that pierce the hazy near-dark space with raw, nonlinear snippets of the movie, fed from a mesmerizing curtain of film stock speeding along sprockets. It’s an intense experience, both sonically (during the car crash that connects the feature’s storylines) and visually (dog fighting plays a pivotal role in the film, though you’ll see here some of the behind-the-scenes tricks that kept the production cruelty-free).

Whatever else it may or may not be, Beetlejuice is spectacularly weird. But Broadway’s musical reboot of Beetlejuice, Tim Burton’s 1988 film, is buggy—though it looks great. Check out our full review from its New York run.

Disneyland’s already the happiest place on Earth, but throw in a massive parkwide food festival—and now it’s somehow even happier. Running nearly two full months, the Disney California Adventure Food & Wine Festival takes over the state-themed park with eight different culinary marketplaces with themes such as garlic, local beer and wine, peppers and more.  Notable dishes for this year’s fest include ramen mac and cheese topped with furikake crumble, fish cakes, green onions and chile crunch; a chicken and waffle mole taco; chicharrón nachos; Mickey-shaped banana-hazelnut waffles; and returning favorite the Mickey-shaped Snickers macaron. To make the most of the festival, opt for the Sip and Savor Pass, which grants you four or eight tastes so you can wander the markets and try a little of nearly everything, or sample à la carte. Just be sure you don’t forget the rides in all of the culinary whirlwind—fan-favorite Soarin’ has temporarily brought back its California-themed version just for the occasion.

Step back into the era of grunge, supermodels and the dawn of the internet at this free exhibition at the ASU FIDM Museum in DTLA. This retrospective explores the decade’s spirit of rebellion and experimentation, featuring high-fashion couture from icons like Vivienne Westwood and Gianni Versace alongside the flannel shirts, slip dresses and bold prints that defined everyday style. Through a curated mix of garments, vintage magazines and video footage, visitors can trace how 1990s innovation continues to shape contemporary trends.

When I first stepped foot inside of this exhibition of decommissioned Confederate monuments and reflective contemporary art pieces, I was taken aback by the scale of it all. I’d seen the installation photos of the side-by-side statues of Confederate generals Stonewall Jackson and Robert E. Lee on horseback, but as I craned my neck up at these towering tributes, they felt awe-inspiring in the most dreadful meaning of the phrase. Most Angelenos don’t need to be convinced of the immoralities of the Confederacy—but most likely haven’t been forced to come face-to-face with such Civil War iconography either. “Monuments,” displayed almost entirely at MOCA’s Little Tokyo warehouse with a single Kara Walker installation at the Brick in East Hollywood, presents tangible proof that these monuments removed from public view over the past decade were not simple, somber remembrances for the recently deceased, these were larger-than-life celebrations of the Confederacy forged in the Jim Crow era and often financed by folks seeking to twist its history. Works from 19 artists respond either directly or thematically to the many statues on display, or in some cases physically alter them: Bethany Collins’s Love is dangerous chisels pieces of the granite pedestal of a Stonewall Jackson monument into Carolina rose petals. Other graffitied or paint-splattered statues speak for themselves: The Robert E. Lee monument at the center of 2017’s Unite the Right rally in Charlottesville, Virginia resides...