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From December 2012 to June 2014, the San Diego Pacific Arts Movement sponsored a participatory project known as Drive-By Cinema (DBC). Refurbishing a U-Haul truck into a mobile cinema unit, DBC visited more than 36 neighborhood sites and screened films. In this article, I revisit the DBC project and its act of mobile cinema exhibition to examine its place-based rhetorics of belonging, materiality, and history. Drawing on Michel de Certeau's distinct and contrasting notions of "place" and "space," I argue DBC's radical mobility temporarily reconfigures places into spaces of social engagement, putting bodies into contact with history, materiality, and across racial and gender differences between residents sharing a neighborhood. In its act of screening in strip-mall parking lots and U-turning at the border, DBC reveals a neighborhood's forgotten histories and the border's absurdity in facilitating exploitative racialized and gendered patterns of transnational mobility and labor. [ABSTRACT FROM AUTHOR]