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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (July 14, 2016)
July 15-21 OPENS FRIDAY bijou-cinemas.com WIENER-DOG 12:00 2:45 5:00 7:15 SWISS ARMY MAN 2:15 TICKLED 12:10 MAGGIE'S PLAN FRI - TUE 12:30 2:50 5:10 7:30 WED 12:30 2:50 THU 12:30 2:50 5:10 7:30 THE LOBSTER FRI 12:00 2:25 5:05 7:05 SAT 2:25 5:05 7:05 SUN 12:00 2:25 5:05 MON - THU 12:00 2:25 5:05 7:05 THE MAN WHO KNEW INFINITY 9:50 9:50 9:50 SING STREET (PG-13) 8:00 pm 9:45 9:45 9:45 9:45 4:35 In French With English Subtitles COMING SOON LIFE, ANIMATED THE FITS HUNT FOR THE ABSOLUTELY WILDERPEOPLE FABULOUS FREE TO RUN GURUKULAM EAT THAT QUESTION LO AND BEHOLD TIX $6 Serving the Eugene Community for Over 35 Years! THE MUSIC OF STRANGERS: YO-YO MA AND THE SILK ROAD ENSEMBLE (PG-13) 1:45, 4:00, 6:15 PREMIUM EVENT ADMISSION APPLIES. NO PASSES. 43 W. BROADWAY (541) 686-2458 BUY TICKETS ONLINE AT BROADWAYMETRO.COM REGULAR ADMISSION $9 ADULTS $8 STUDENTS $6 SENIORS/CHILDREN $5 BEFORE 5 PM OPEN EVERY DAY FILM. FOOD. FRIENDS. 10:00 9:30 7:45 LA FENICE OF VENICE: LA FAVORITA SAT 11:00 AM WED 6:00 PM B Y M O L LY T E M P L E T O N 13th Ave 541-357-0375 WIENER-DOG THIS WEEK AT THE METRO JULY 15-21 MOVIES MICROBE AND GASOLINE (PG-13) Friday - Sunday 3:30, 8:20 Monday - Thursday 1:15, 3:30, 8:20 OUR LAST TANGO (NR) Friday - Sunday 1:30, 6:00 Monday - Thursday 6:00 COMING SOON: CAPTAIN FANTASTIC (7/29), CAFE SOCIETY (7/29), THE INNOCENTS, OUR LITTLE SISTER, EQUITY, DON’T THINK TWICE, LITTLE MEN TICKET PRICES: MATINEE before 6pm $5 ADULT $8 | STUDENT $7 | SENIOR 62+ $5 CHILD age 12 & under $5 $3 $2 $1 off stud/SEN Sun Tues *N E W * A L L A G E S FRI JULY 15TH - THUR JULY 21ST HAIL, CEASAR! 5:00 NICE GUYS 7:00 POPSTAR 5:20 HAIL, CEASAR! 8:50 DEADPOOL 6:55 POPSTAR 9:05 THE BFG (DIG) (PG) 10:10, 1:00, 4:35, 7:25, 10:25 CENTRAL INTELLIGENCE (DIG) (PG-13) 10:30, 1:15, 4:10, 7:45, 10:30 FINDING DORY (DIG) (PG) 10:45, 1:35, 4:30, 7:15, 10:00 THE FREE STATE OF JONES (DIG) (R) 12:10, 3:35, 6:55, 10:15 GHOSTBUSTERS (2016) (3D) (PG-13) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 11:00, 12:25, 7:30, 9:15, 10:20 GHOSTBUSTERS (2016) (DIG) (PG-13) 1:50, 3:15, 4:40, 6:20 INDEPENDENCE DAY: RESURGENCE (DIG) (PG-13) 10:20, 1:20, 4:20, 7:20, 10:20 THE INFILTRATOR (DIG) (R) 12:15, 3:20, 7:05, 10:05 THE LEGEND OF TARZAN (DIG) (PG-13) 10:15, 1:05, 3:45, 7:10, 10:10 MIKE & DAVE NEED WEDDING DATES (DIG) (R) 10:40, 1:10, 3:40, 7:00, 9:50 NOW YOU SEE ME 2 (DIG) (PG-13) 12:00, 3:30, 6:50, 10:00 OUR KIND OF TRAITOR (DIG) (R) 10:35, 1:25, 4:05, 7:05, 9:55 THE PURGE: ELECTION YEAR (DIG) (R) 10:50, 1:40, 4:25, 7:40, 10:25 THE SECRET LIFE OF PETS (3D) (PG) SPECIAL EVENT PRICING: $3.00 UPCHARGE ALL TICKETS 12:05, 3:25, 5:05, 8:45, 10:05 THE SECRET LIFE OF PETS (DIG) (PG) 10:25, 11:15, 12:55, 1:45, 2:35, 4:15, 6:05, 6:45, 7:35, 9:20 THE SHALLOWS (DIG) (PG-13) 10:00, 12:20, 2:40, 5:00, 7:50, 10:35 *NO SHOW FRIDAY, MAY 27TH $2 TUESDAYS SOUTH EUGENE DAILY DELIVERY 4:30-8:45PM Mon-Fri 11AM-9:30PM • Sat & Sun 9:30AM-9:30PM BREAKFAST SAT ‘TIL 11:00 SUN. ‘TIL 1:00 80 E. 29Th & Willamette 541-302-6444 BUBBLE TEA • GLUTEN FREE ENTREES DELIVERY AVAILABLE 4:30-8:45PM Open Daily: 11AM-9:30PM 1308 Hilyard • 541-343-0165 22 July 14, 2016 • eugeneweekly.com DANCING THROUGH LIFE A pair of Argentinian dancers, now in their 80s, take to the floor in the documentary Our Last Tango W hat a strange beast Our Last Tango is. This short documentary (original title Un tango más) has the peculiar distinction of being both inventive and un- satisfying. It’s experimental in ways that work on an emotional level, but as a whole it leaves a viewer wanting much more. What you may find you want more of is context. Director German Kral’s film tells the story of María Nieves Rego and Juan Carlos Copes, two famous Argentinean tango dancers who were dance partners for decades — and partners in life for much of that time. If you are a dance aficionado, perhaps you know enough about María and Juan to fill in the blanks the movie fails to, but there is little in the film to explain their success. What is in the film is the tempestuous, emotional side of their story, and this choice — to focus on their relationship — is both admirable and frustrating. For backstory, Kral puts his subjects in settings where they tell their stories to smiling young interviewers. At first, this is a touch confusing: Who are these people and why are they on screen with María and Juan? It takes a moment to realize: They’re the dancers in the frequent reenactments. They aren’t just playing the younger couple; they’re asking questions about who María and Juan were, how they met, how they danced together. Whether this gives these dancers greater insight into their own performances is hard to say, but it certainly gives that impression. How could you not dance more meaningfully after talking to the person you’re emulating? There’s a sense of emotional exploration, something being sought and found in the language of dance and yet, tantalizingly, not quite making it to the screen. While María is vibrant and magnetic, it’s difficult to care much for Juan, who turns out to be an old-fashioned sexist, the kind of man who flat-out objectifies his partner when he refers to her as his Stradivarius. María isn’t a person to him; she’s the tool he used to succeed. He complains, at another point in the film, that María thought he belonged to her, when he believed it was the other way around: She belonged to him, and when he was done with her he set her aside like he would any other tool. María has a few throwback ideas of her own, but she’s also passionate, curious and somewhat reflective. She’s the one the filmmakers send to visit the locations of old haunts and performance spaces, and you can practically watch memories play across her face as she tells stories of the olden days. Our Last Tango wants to mine the peculiar relationship between these two — the way their art and their lives diverged, and how they danced on. This works conceptually in the recreations, as their young stand-ins dance lithely through sepia-toned frames, but it all stumbles when the camera turns back to María and Juan themselves. Her story has a triumphant arc, if a mellow one; his seems to taper off, despite all his success. But if nothing else, both of them demonstrate that being an octogenarian is no excuse for sitting still. If we start now, perhaps we’ll be dancing into our 80s as well. (Bijou Art Cinemas)
