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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (June 16, 2016)
TIX $6 $3 off $2 $1 stud/SEN Sun Tues June 17-23 BY RICK LEVIN 13th Ave 541-357-0375 *N E W * A L L A G E S FRI JUNE 17TH - THUR JUNE 23RD MOVIES FILM. FOOD. bijou-cinemas.com FRIENDS. Serving the Eugene Community for Over 35 Years! DARK HORSE (PG) Residents in a poor Welsh mining village pool their resources to compete in the “sport of kings” with a racehorse they would breed and raise 12:00, 2:00, 4:00, 6:00, 8:00 LOVE & FRIENDSHIP (PG) HAIL, CEASAR! 5:10 VAXXED 5:20 DEADPOOL 7:00 Jane Austen’s epistolary novel LADY SUSAN has been transformed into a brisk and cutting comedy of manners Friday – Sunday 2:15, 4:15, 6:15 Monday 12:15, 2:15, 4:15 Tuesday – Thursday 2:15, 4:15, 6:15 WEINER (R) MIDNIGHT SPECIAL 7:05 HAIL, CEASAR! 8:50 A HOLOGRAM FOR THE KING 9:05 *NO SHOW FRIDAY, MAY 27TH $2 TUESDAYS A thorough examination of modern politics, the 24- hour news cycle and the grind of the campaign trail 2016 Sundance Grand Jury Prize: Documentary (Winner) Friday - Sunday 12:15, 8:15 Monday 9:15 pm Tuesday – Thursday 12:15, 8:15 CLOWN FRI-THU 10:20 pm JUNE 17 – JUNE 23 ALICE THROUGH THE LOOKING GLASS (DIG) (PG) 10:40, 1:30, 4:40, 7:45, 10:30 THE ANGRY BIRDS MOVIE (DIG) (PG) 10:50, 2:15, 4:45, 7:30, 10:00 CAPTAIN AMERICA: CIVIL WAR (DIG) (PG-13) 11:45, 6:50, 10:10 CENTRAL INTELLIGENCE (DIG) (PG-13) 10:30, 1:15, 4:20, 7:40, 10:25 THE CONJURING 2 (DIG) (R) 12:15, 3:25, 7:10, 10:20 FINDING DORY (3D) (PG) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 10:05, 1:10, 3:35, 4:05, 5:15, 7:15, 10:00, 10:35 FINDING DORY (DIG) (PG) 11:00, 11:55, 12:50, 1:45, 2:35, 3:05, 4:30, 6:20, 7:55, 9:05 THE JUNGLE BOOK (2016) (DIG) (PG) 10:25, 1:20, 4:10, 7:25, 10:10 20 ME BEFORE YOU (DIG) (PG-13) 10:15, 1:00, 4:15, 6:55, 9:50 THE NICE GUYS (DIG) (R) 10:20, 7:15, 10:15 NOW YOU SEE ME 2 (DIG) (PG-13) 11:50, 3:20, 7:20, 10:20 TEENAGE MUTANT NINJA TURTLES: OUT OF THE SHADOWS (DIG) (PG-13) 10:35, 12:10, 1:25, 3:15, 4:35, 6:05, 7:35, 8:55, 10:30 WARCRAFT (3D) (PG-13) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 10:10, 4:00, 10:05 WARCRAFT (DIG) (PG-13) 1:05, 7:00 X-MEN: APOCALYPSE (DIG) (PG-13) 10:45, 12:05, 2:25, 3:40, 6:10, 7:05, 9:35, 10:25 June 16, 2016 • eugeneweekly.com KALIEASWARI SRINIVASAN IN DHEEPAN TICKET PRICES: MATINEE before 6pm $5 ADULT $8 | STUDENT $7 | SENIOR 62+ $5 CHILD age 12 & under $5 43 W. BROADWAY v (541) 686-2458 BUY TICKETS ONLINE AT WWW.BROADWAYMETRO.COM DHEEPAN 11:30 2:10 MAGGIE'S PLAN 12:10 2:10 THE LOBSTER 11:40 2:20 THE MAN WHO KNEW INFINITY FRI 11:40 4:30 SAT 4:30 SUN-THU 11:40 4:30 SING STREET 2:30 pm CLOWN 10:20 pm 4:50 7:30 10:10 5:00 7:20 9:30 5:00 7:40 9:40 7:00 7:00 7:00 METROarts PRESENTS: THE ROYAL BALLET IN THE SLEEPING BEAUTY ($19 ADULTS/$17 STUDENTS/$16 ADULTS/$15 m REWARDS) SAT 11:00 Am REGULAR ADMISSION (EXCLUDES SPECIAL EVENTS) $9 ADULTS v $8 STUDENTS v $6 SENIORS/CHILDREN v $6 MATINEE COMING SOON GENIUS ALMOST HOLY THE NEON DEMON TICKLED GURUKULAM ABSOLUTELY FABULOUS HUNT FOR THE WILDERPEOPLE WAR ALL THE TIME Sri Lankan refugees fight to survive the slums of France in the excellent Dheepan W ar is hell, no doubt. But for all those nameless, faceless refugees escaping the war at home, the realities of relocation can plunge them into a new kind of nightmare, one almost as bloody and chaotic. In Jacques Audiard’s latest film, Dheepan, a trio of refugees fleeing war- torn Sri Lanka wind up in a French slum, where they are forced, literally, to fight for their lives. At once excruciatingly suspenseful and tenderly intimate, this film — which won the 2015 Palme d’Or at Cannes — takes a geopolitical crisis and humanizes it in ways that are revealing and moving. The film opens on a scene of brutal devastation: Dheepan (Antonythasan Jesuthasan), a vanquished insurgent, lays palm fronds over the bodies of fallen soldiers, who are then burned wholesale. Along with other Tamil Tigers, Dheepan is forced into a refugee camp, where he forms a quick alliance with Yalini (Kalieaswari Srinivasan), a woman who, to gain asylum, poses as the mother of Illayaal (Claudine Vinasithamby), a 9-year-old orphan. Together, these three strangers form a makeshift family, eventually landing in Le Pré-Saint- Gervais, a kind of Cabrini Green-style housing project north of Paris. Dheepan, a tragic man whose quiet dignity belies the surging agonies of PTSD, is made caretaker of the housing project, which doubles as a haven for thugs and drug runners. Il- layaal enters school, and Yalini reluctantly takes on the role of wife and mother, though she’s torn by a constant urge to leave this new hellhole for London. Eventually, their lives tangle up with Brahim (Vincent Rottiers), a recently released convict desperate to re-estab- lish his kingpin control over the projects. Dheepan moves with tense, relentless momentum toward an explosive conclusion that is no less shocking for being inevitable. And yet, for all its implied and explicit violence, the film finds the real source of its power in the transformation of a ramshackle immigrant family whose survival gives rise to something that looks a lot like love. Audiard has a beautiful eye for the telling details of immigrant life (which, after all, is just life). At one point, Dheepan confesses to Yalini that he completely fails to understand French humor, and as she ribs him about this, we witness a kind of thaw — the warmth of two strangers finding a common humanity, which leads to an erotic recognition that is inseparable from their growing sense of place. Moments such as these make Dheepan a special movie, indeed; the undeniable politics of the situation, so complex and heartless, are nonetheless subsumed to serve the universal drama of human beings searching for identity amid the mess of everyday life, no matter how shitty that is. And that, really, is why Dheepan is such an important film right now. As the vicious clamor of pampered politicians and xenophobic reactionaries rises to a din that threatens to drown out all reason, this film puts truth to the lie that hordes of invading foreigners are the problem, and that the threat to society always comes from without. It’s a cold, cowardly heart that would take a look at a man like Dheepan and call him the real enemy. (Broadway Metro)
