MOVIES
July 22-28
BY RICK LEVIN
13th Ave
541-357-0375
FILM.
FOOD.
FRIENDS.
bijou-cinemas.com
THE BFG (DIG) (PG)
10:10, 12:55, 4:35
CENTRAL INTELLIGENCE (DIG)
(PG-13)
10:30, 1:15, 4:10, 7:40, 10:20
FINDING DORY (DIG) (PG)
10:35, 1:30, 4:30, 7:15, 10:05
GHOSTBUSTERS (2016) (3D)
(PG-13)
SPECIAL EVENT PRICING: $3.00
UPCHARGE ALL TICKETS
12:10, 7:30, 9:15, 10:40
GHOSTBUSTERS (2016) (DIG)
(PG-13)
10:25, 1:20, 3:10, 4:40, 6:25
HILLARY’S AMERICA (DIG) (PG-13)
10:45, 1:35, 4:15, 7:45, 10:25
ICE AGE: COLLISION COURSE
(3D) (PG)
SPECIAL EVENT PRICING: $3.00
UPCHARGE ALL TICKETS
11:50, 3:20, 4:50, 9:50
ICE AGE: COLLISION COURSE
(DIG) (PG)
10:05, 12:50, 2:20, 6:15, 7:20, 8:55
INDEPENDENCE DAY: RESURGENCE
(DIG) (PG-13)
11:55, 7:05
THE INFILTRATOR (DIG) (R)
3:15, 10:15
THE LEGEND OF TARZAN (DIG)
(PG-13)
10:15, 1:05, 4:25, 7:10, 10:10
LIGHTS OUT (DIG) (PG-13)
10:20, 12:45, 3:00, 5:15, 7:55, 10:45
MIKE & DAVE NEED WEDDING
DATES (DIG) (R)
10:40, 1:10, 4:45, 7:25, 9:55
THE PURGE: ELECTION YEAR
(DIG) (R)
7:50, 10:30
THE SECRET LIFE OF PETS (DIG)
(PG)
10:50, 12:05, 1:25, 2:30, 4:20, 5:05,
6:50, 7:35, 9:20
THE SHALLOWS (DIG) (PG-13)
10:35
STAR TREK BEYOND (3D) (PG-13)
SPECIAL EVENT PRICING: $3.00
UPCHARGE ALL TICKETS
10:00, 12:00, 3:05, 4:05, 8:00,
10:00, 10:55
STAR TREK BEYOND (DIG) (PG-13)
11:00, 1:00, 2:00, 5:00, 6:05,
7:00, 9:05
Serving the Eugene Community for Over 35 Years!
THE MUSIC OF STRANGERS: YO-YO MA
AND THE SILK ROAD ENSEMBLE (PG-13)
Final Week
Filmmaker Morgan Neville (20 FEET FROM STARDOM) profi les cellist
Yo-Yo Ma and the Silk Road Ensemble, an eclectic group of musicians
who tour the world to perform and teach their craft.
1:45, 4:00, 6:15, 8:30
MICROBE AND GASOLINE (R) Final Week
In French with English Subtitles
Two teenage friends embark on a road trip across France after building
a house on wheels. Audrey Tautou co-stars in this whimsical coming-of-
age tale written and directed by Michel Gondry (ETERNAL SUNSHINE OF
THE SPOTLESS MIND).
1:30, 6:00
SING STREET (PG-13) Final Week
In 1985, a Dublin teenager forms a rock ‘n roll band to win the heart of
an aspiring model. John Carney (ONCE, BEGIN AGAIN) wrote and directed
this crowd-pleasing musical drama.
3:45, 8:15
COMING SOON:
July 29: CAPTAIN FANTASTIC & CAFÉ SOCIETY
TICKET PRICES: MATINEE before 6pm $5
ADULT $8 | STUDENT $7 | SENIOR 62+ $5
CHILD age 12 & under $5
ROYALTY HIGHTOWER IN THE FITS
TIX
$6
FITTING IN
$3
off
$2 $1
stud/SEN
Sun
Tues
*NEW* ALL AGES
Strange seizures afflict a group of young women in Anna
Rose Holmer’s excellent debut The Fits
FRI JULY 22ND - THUR JULY 28TH
C
locking in at just 72 minutes, The Fits is less full-length feature than a new form of
cinematic poetry, a visually stunning film that is at once as inscrutable and straight-
forward as a parable.
Co-written, co-produced and directed by Anna Rose Holmer in her filmmaking
debut, the movie focuses — with physical intimacy and minimal dialogue — on
Toni (Royalty Hightower), a quiet, observant 11-year-old girl who seems to spend all her
waking hours in a gym, surrounded by boxers and the fierce women of a competitive dance
team.
The film is rapid, almost breathless, in its storytelling, dropping the audience directly
into the action with little exposition and no backstory. In the opening scene, the camera
faces Toni as she does pushups, counting off slowly as she stares placidly into the screen. We
quickly learn that she is something of a tomboy, a reserved girl whose closest relationship
is with her brother Jermaine, one of several young black men who train and spar on the
gym’s canvas.
Despite the teasing of Jermaine and his friends, Toni decides to join the dance squad,
where she witnesses a surprising form of eroticized gamesmanship that rivals what goes
on in the boxing ring. The older girls on the dance squad call these new recruits “crabs,”
mildly mocking their awkwardness, but as the practices heat up in anticipation of a citywide
competition, the group begins to gain a kind of cohesiveness.
And then, suddenly, one girl after the other succumbs to “the fits,” a form of epileptic
seizure that threatens to become an epidemic. The rumors start as each “fit” is discussed
and analyzed. Is it something in the water? Is it caused by the temporary tattoos the dancers
wear? One young recruit, noticing a trend, suggests it might be a “boyfriend disease.”
Toni, for her part, begins to suspect that her friends are faking the fits to fit in. Is it
merely peer pressure at work? In this sense, the film inverts the narrative of witchcraft,
turning the idea of being possessed into an individual act that is less rebellious or demonic
than a negotiation for status and identity. The sexual and social implications here are
obvious, regardless of the “real” cause of the seizures.
And yet, the question of whether the fits are involuntary or chosen becomes moot:
What’s important is how Toni will respond, and thus define herself amid the confusion of
the world. This is where the film finds its strength, in focusing closely on the evolution of a
young woman discovering where, exactly, she fits, and how she herself will fit in.
The Fits is unlike any film I’ve ever seen. As a director, Holmer shows an implicit trust
in her audience, stripping the story down to its most physical reality and allowing characters
to develop almost solely through action and gesture. The closest cinematic equivalent is
the trio of experimental digital films by Gus Van Sant (called the “Death Trilogy,” and
including Last Days and Elephant) — films that found a raw, haunting power in their
patient, documentary-like attention to the movement of people through space and time.
Which is not to say that Holmer’s film lacks the finer tunings of cinematic artistry. The
cinematography, with its tight, roving pans and sudden close-ups, is sophisticated and sure,
and the soundtrack is simply amazing — a haunting and minimalistic thrum of ambient
noises and discordant, jazzy woodwind bleats that amplify the eerie confusion of Toni’s
surroundings.
This is an impressive debut for Holmer, whose direction oozes a hypnotizing confidence.
In fact, the film itself is hypnotizing — an immersion into a dreamy meditation on what it
means to be human, inside and out. Style and substance are inseparable in The Fits, in the
same way that “the fits” themselves cannot be disentangled from their surroundings, and
therefore explained away. (Bijou Art Cinemas)
HAIL, CEASAR!
5:00
NICE GUYS
5:00
HAIL, CEASAR!
6:55
POPSTAR
6:55
DEADPOOL
8:50
NICE GUYS
8:50
*NO SHOW FRIDAY, MAY 27TH
$2 TUESDAYS
THE FITS
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12:30 2:45 5:00
THE FITS
FRI - TUE 12:10 2:00 3:50
WED
12:10 2:00 3:50
THU
12:10 2:00 3:50
SWISS ARMY MAN
12:00 2:45 5:00
MAGGIE'S PLAN
FRI - TUE 12:25 4:45 7:00
WED
12:25 4:45
THU
12:25 4:45 7:00
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7:15 9:30
5:40 7:30 9:20
7:30 9:45
5:40 7:30 9:20
9:45
7:15 9:15
PREMIUM EVENT ADMISSION
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
THE ROYAL OPERA: WERTHER
WED
6:00 PM
COMING SOON
EAT THAT QUESTION FREE TO RUN
LO AND BEHOLD
LIFE, ANIMATED
GURUKULAM
PHANTOM BOY
MISS SHARON JONES
HUNT FOR THE
COMPLETE UNKNOWN
WILDERPEOPLE
eugeneweekly.com • July 21, 2016
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