These stills from Catherine Opie’s first film, also on view in this exhibition, feature the trans artist Pig Pen, a longtime friend and frequent subject of Opie’s work since the early 1990s. Here, they occupy (and incinerate) spaces conceived from utopian midcentury-modern promises of an egalitarian future, the mass-produced comforts of home available to all through jet-age innovation and technology. In the 21st century, such houses are collected as exclusive bastions of the jet-setting and acquisitive 1 percent, who populate the hills overlooking Hollywood in their vintage trophy homes. Drawing inspiration from Chris Marker’s post-apocalyptic film La Jetée (1962) — itself composed of still images — Opie transforms science fiction of the future to a faux-documentary here and now, with references to the sky-high art market (of which she is a part), the 2016 election, and California’s literal trials by fire that engulf the state as we stand here. Opie’s is an astute articulation of our 21st-century war of the worlds.