© 2017 Peter Christenson
FLA | DSM-314.01 Attention-Deficit/Hyperactivity Disorder, Combined Type
Fuck Lance Armstrong (FLA), 2008-2013
Fuck Lance Armstrong (FLA) is an award-winning short narrative film and an experimental social art project (2008-2013) modeled after a grassroots socio-political intervention. In addition to the film, the broader project has assumed a variety of forms including staged performances and public and private installations. Its objectives aim to explore and ultimately eradicate prevalent notions of celeb-idolatry in contemporary society. Despite its sensationalistic name, FLA is not a movement intended to chastise one-testicle racing cyclists or other self-righteous celebrities. Instead, the FLA project seeks to address the public at large and its worshipping of athletes, genius, and iconic figures, the commodification and objectification of said celebrities as exchangeable entities and corporate advertisements, and most significantly, FLA documents the (generalizable) hero's inevitable fall from grace to failed pariah.
Film Synopsis: A career-ending cycling accident for the young and eccentric misfit Trevor results in years of misguided and unhinged resentment, sycophantic infatuation, and an oddly therapeutic profession of stealing and collecting Armstrong memorabilia with his two outlandishly certifiable brothers. Attempting to heal both real and imagined wounds, the motley trio fumbles through a complex plan to pilfer a prized Armstrong jersey collectible from a local tough guy. As the scheme unravels, the oblivious and errant brothers are forced to rethink their plan and improvise, further engendering an insane onslaught of errors only to finally verify what they alleged all along: Lance Armstrong is cycling’s cheat of all cheats.
Director / Writer: Peter T. Christenson
Genre: Short, Dramedy (Dark Comedy)
© Peter Christenson, 2018. All rights reserved. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Peter Christenson.