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2 OSCAR NOMINATIONS
1 OSCAR NOMINATION
6 OSCAR NOMINATIONS
MOVIES
THAT
bijou-cinemas.com
MATTER
Serving the Eugene Community for Over 35 Years!
LION (PG-13)
11:30 am, 2:00, 4:30, 7:00, 9:30
20th CENTURY WOMEN (R)
11:00 am (no show on Tuesday)
2017 OSCAR SHORTS - LIVE ACTION
CAPTAIN
FANTASTIC
5:10
FANTASTIC
BEASTS
4:40
HACKSAW RIDGE
7:00*
4 OSCAR NOMINATIONS
Friday - Monday 1:30, 6:15
Tuesday 11:30 am, 4:15
Wednesday & Thursday 1:30, 6:15
2017 OSCAR SHORTS - ANIMATION
Friday - Monday 4:15, 9:00
Tuesday 2:15, 9:30
Wednesday & Thursday 4:15, 9:00
The UO Italian Program & RL Department present
ROMAN HOLIDAY (1953)
SHAHAB HOSSEINI AND
TARANEH ALIDOOSTI IN
THE SALESMAN
HELL OR
HIGH WATER
8:55
THE EAGLE
HUNTRESS
7:20
Tuesday 7:00 pm
(with introduction by UO Professor Steinhart)
$7 General Admission.
Free for Students & Bijou Film Club Members.
A MONSTER
CALLS
9:25
Local beer, wine and cider... & now kombucha on tap!
TICKET PRICES: MATINEE before 5pm $6
ADULT $8 | STUDENT $7 | SENIOR 62+ $6 CHILD age 12 & under $6
*NO SHOW 2/17
Asian Food
Market
ATTENTION MUST BE PAID
Revenge and forgiveness are at the core of Asghar
Farhadi’s suspense drama The Salesman
T
TONI ERDMANN
NOW PLAYING
Middle Eastern Food
& Vegetarian Items
FEBRUARY 17-23
THE SALESMAN (FORUSHANDE)
11:30 2:15 5:00 7:45 10:10
TONI ERDMANN 12:00 3:15 6:30 9:35
LA LA LAND 11:30 2:15 5:00 7:45 10:15
MANCHESTER BY THE SEA
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2:10 7:25
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5:00 10:10
SUN-TUE
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he great Russian novelist Fyodor Dostoyevsky invented the modern suspense thrill-
er with Crime and Punishment, the story of a poor college student who murders
his landlady with an ax and is hounded throughout the rest of the book by his
conscience and a dogged detective who baits him mercilessly until he confesses.
We never tire of such cat-and-mouse potboilers. But, really, such procedural
tales are meant to be scaffolding for a deeper story, as Dostoyevsky knew: The story of our
fall from grace, and whether we will seek forgiveness and salvation, or succumb to further
cycles of violence and criminality.
On its surface, Iranian director Asghar Farhadi’s latest film, The Salesman, is a classic
thriller — a suspenseful crime story that becomes an obsessive vengeance plot. An Iranian
couple, Emad (Shahab Hosseini) and Rana (Taraneh Alidoosti), are suddenly forced to
evacuate their crumbling apartment building. A friend with whom they are staging a pro-
duction of Arthur Miller’s Death of a Salesman, Babak (Babak Karimi), offers them a new
apartment recently and mysteriously vacated by a woman who may have been a prostitute.
Shortly after moving in, Rana is brutally assaulted in the shower while Emad is away
at the store. A fog of uncertainty and half-truths surrounds the attack: Was the perpetrator
one of the previous tenant’s johns? Why did Babak not warn them? In his haste to flee, the
attacker left behind a cell phone, a set of keys and, as Emad discovers, his truck parked
outside. He sets about tracking down Rana’s attacker.
As the mystery unfolds and the suspense ratchets up, we witness the unraveling of
Emad and Rana’s marriage, which is strained by his frustrated and increasingly selfish
search for the perpetrator. As she moves toward healing and forgiveness, he is increasingly
driven by anger, and when he finally discovers the surprising culprit, there is no relief but,
rather, an excruciating escalation of anticipation and anxiety. A decision must be made.
Farhadi, who also wrote The Salesman, directs a muted, ungarish yet propulsive picture
that is always focused on those intimate places where relationships play out, a diverted
glance or a shrug of the shoulders. He is adept at pacing, at squeezing suspense from the
blunt architecture of his narrative, and yet he never loses sight of the very human drama
playing out — a drama that, in the end, is cosmic, and that speaks to us as fragile creatures
who slouch, however clumsily, toward grace.
We don’t talk about sin much anymore. The term has lost its distinct chill in this so-
called enlightened age of secular concerns, but that doesn’t mean the cynicism that ignores
our fallen nature has eradicated our essential sinfulness. No matter how we frame our-
selves, we remain creatures prone to acts of crime and punishment, and whether we know
it or not, we are up to our noses in a human drama that is as old as time itself.
The Salesman has been nominated for an Oscar in the Best Foreign Language Film cat-
egory, but Farhadi (who took home that honor in 2012 for his excellent A Separation) has
already said he won’t attend the ceremony due to the humiliating nature of our salesman-
in-chief’s executive order banning travel from a list of Muslim countries, regardless of how
it pans out in the courts. Which poses a serious question about where we’re now at as a so-
ciety: Does punishment for a crime never committed even include the possibility of grace?
And what do you call revenge for a crime never committed? (Broadway Metro)
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THE ROYAL OPERA: IL TROVATORE
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