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)