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fridaynightbordercrossing · 6 years ago

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An interview with Mercado Negro

Mercado Negro, the duo integrated by brothers Martín (guitarist) and Jesús Hernández (drummer/singer), is one of the important groups in the rebirth of the 80's music scene, as well as pioneers in playing punk rock on the border. In this interview, they talk about these issues, as well as their present and several of their projects, here is the interview.

THE ROOTS...

"Martín and Jesús come from a family of musicians. Our grandfather was a troubadour for the decades of the forties and fifties, promoter also because he promoted the trio in which he participated with Pedro Vargas (later, one of the most important Mexican artists of all time) and the first artistic caravans that came to Tijuana. From there, came another legacy, we are nephews of the legendary guitarist Lupillo Barajas, who was part of Manolo y sus Cuatro Latinos and later formed part of a very successful group, Los Tijuana Five, which was very important not only in the region but at the national level. They came out in magazines and had shows in hotels and concerts like any artist of international stature, that heritage we have. We were fortunate to grow in a 100 percent rock and roll environment. As children, we came to this building, on the second floor, where our uncles had their rehearsals"

"We had seen all the start in the Fiestas Patrias, saw everything how was done in the culture of the sixties. We were about 6 or 7 years old, we saw all that, the image of musicians with long hair and beards, but also understanding their art. We also saw this in the ballroom that my grandmother had, which was La Cueva, an artistic concept, not just a ballroom, it had paintings on the walls, so then, who was not going impact that contact with the musicians?...we watched the rehearsals, the instruments. Since I was a child I played here in this studio, there was a piano in a corner, so there was contact with musicians and painters ".

1977: THE END OF A ROCKERA ERA

"There are four aspects that determined the death of the generation of the golden era in Tijuana, I am marking it very objectively in a research work I am doing. The first aspect is that the city grew because there was a national call for people from all over Mexico to come to work, since in the seventies it was the boom of the maquiladora industry, so people came from the most remote states, as well as the closest. These people came for the offer of government, so they came to live and work with everything and their families, people who came from Chiapas, Yucatan, Veracruz, and Jalisco. They came from towns and cities that brought their well-rooted culture, so there was a multiethnic mix of all cultures, They started looking for music and entertainment that they were used to in their city, that was a factor. We began to see more Tijuana residents who had their taste for mariachi, cumbia, merengue, bolero and romantic, we began to see a demand for that music. Let's emphasize that in the sixties, Tijuana was a rock city".

"The other aspect was that San Diego began to be profitable because it was the time of superstars and super concerts. The sixties were of the "rockstars", but in the seventies, change to the "superstars", emerging the great phenomena of music like Kiss, who made great concerts in stadiums and arenas, when formerly they were in clubs, bars and places of medium capacity. The Tijuanenses began to go to concerts for the first time in 1977. That was a very important year because Led Zeppelin came, Black Sabbath with Van Halen opening, Rolling Stones, Yes, and Tomita, then it was a boom, including that there was not so much difficulty crossing the line and the economy was different, Hell, a ticket could be paid for 10 dollars and up to 45 dollars, then it was a new modality for Tijuana residents to go to San Diego".

"Another factor was that artists who had a well-known national reputation in the city, popular artists like Vicente Fernandez, Rigo Tovar, El Mariachi Vargas, and Banda El Recodo, became superstars and idols thanks to that migration, which was people who sought their identity. Finally, another determining factor was the disco music, because Avenida Revolución, which was the most prominent place for the musicians to develop, change their ways, since for clubs it was more profitable to buy a jukebox and have a DJ with their turntables, than to pay some musicians, since it was the salary of two bands. There was live music 24 hours a day, seven days a week as in the case of Mike's. When the generation of DJs was born, they earned more than a whole group, so, from 1977, live rock and Tijuana's generation of musicians came to an end, only very few of them survived, among them, La Cruz".

THE ROCK PUNK ARRIVES

"By 1977, we were already skating and, through skateboarding, we began to see the magazines, it was something new and fresh in Tijuana, it had to do with an attitude in rebellion. It was not the same to go skateboarding or to play basketball in the skating centers that were in fashion, that made us identify with punk since rock had become hard rock and fashion, it did not fit with the youth of Tijuana. Skateboarding and surfing practically led us to decide as young people to go along that path. There was a kind of disenchantment, a divorce or distancing between the public and the superstars, it became a division in which it was impossible to have access to rock music".

"People who wanted to be a musician wanted to maintain the spirit or nostalgia of the rebellious movements of the late fifties, when the countercultural movement or the rock and roll with Elvis Presley emerged, which was something with more contact. Now, that was something impossible. Kiss was Kiss, all the superstars were inaccessible things, there was now a generation that did not care about all that, and started with "I want to be a musician and I do not care about looking like Queen or like Elton John, I want to manifest myself ", and that, was linked well with our way of living and with our reality. Apart from that, for us, it was an absurd thing watching six-minute instrumental solos, high heels and painted musicians. That was not accessible to a tijuanense and as a youth, we grew watching hippies, psychedelia and peace and love".

"We saw a radical and countercultural wave that fought for Vietnam, we did not understand it, but we saw that generation, our uncles were there and we came to see that transformation. At this point, watching the platform shoes and pants below the waist, for us without being punks, it was like watching clowns, with 10 minutes of drum solo and 20 of keyboard solo and opera voices, we felt that as decadent, I could not be liking that. We had from San Diego two stations, KGB that was rock music and KCBQ that was country and ballads, both started to like in Tijuana and we did not like it, that did not satisfy us. When we started listening to punk rock, we got excited, we said: "we are for this". It was the simplicity of being able to reach and be able to identify with a skateboard, you identified with a group, and it was accessible".

"This is how we were fully identified with this new refreshing musical movement, since with it comes the birth of groups like Ramones and The Sex Pistols, in addition to the ones that emerged afterward like The Stranglers and Dead Kennedys, which emerge with a very primitive and basic musical proposal, as in its beginning was rock, as in the sixties it was with The Who, Rolling Stones and The Beatles. Once again, in the late seventies, a new proposal was emerging that returned to its roots, with that rebelliousness, but at the same time, with a more energetic freshness. It was a movement antagonistic to everything that made us decadent and that was gradually evolving both in the intellectual and ideological concept. In the musical concept, it is very important to get across the point that The Clash releases the Sandinista album, a triple album that had a lot of roots of what would later evolve into a lot of influences of the Rock En Tu Idioma movement".

"That musical evolution was also very good because that's where new wave also came from. At the time, there were the super keyboardists of Yes and all that movement, apart from the techno, that made us not like the keyboards, but all the technology was developed to an impressive level and the synthesizer guitar, keyboards, and sequencers began to be used. The look of the bands broke with what was established, a whole Hollywood movement is made with punk hairstyles, taking into account that some said that this was going to be dead, it was predicted for a lifespan of four years. In addition, by way of mockery, it was said thatanybody could do a group on a snap"

PIONEERING

"From 1977 to 1981 there was an absence of live music here in the city, an almost total absence because the only survivors were (hard rockers) La Cruz and a progressive rock band called Camaleón. By 77, La Cruz began to tour to Sonora, to Baja California Sur, even to Sinaloa, they began to open their own circuit. In Camaleón, the Muzquiz Brothers participated (later, integrating punk rock band Los Negativos), they did it for love of the music more than for having a constancy, their concerts were very sporadic, and since they were wealthy people, they did it out of love for art. For 1981, as lovers of rock music and live concerts, we decided to make our own music, very motivated because hardcore music was having a boom in California, since the first and the best groups arose there, like Dead Kennedys, TSOL, White China, Black Flag, and Circle Jerks, we had all that influence and we went to the concerts in Fairmont Hall. Suddenly, we could not go for the interracial fights. We decided that if we could no longer see the groups, then someone has to play, we have fever and hunger and so it was that to cover a basic need. Without projecting it, we fostered a new musical movement that had a very singular thing, that was that the first punk rock or rock groups from Tijuana had the very specific peculiarity of composing and interpreting their songs in Spanish. Let it be well marked and in capital letters, that Rock En Tu Idioma reached 1987 to Tijuana, but since 1981, six years before, we were already doing it".

"Since 1979 we tried to make a group, but we were very young and the older guys did not want to do it. In 1980, I made an event that has a lot to do with this, it was in the ETI 24 Alba Roja, from this school the first show comes out in 1980 with pure new wave and punk music, being the first high school to do something like that and that's where everything was turned on. Around 1981 we had already made several attempts to do something, but besides that we were very young, we did not have the resources, in fact, the youngest was the one who got the instruments to make the band, those who worked they did not make the effort, then, the youngest ones were who put everything together ".

"The peculiarity of the eighties, was that we segregated our own movement, we did our parties and we danced the pogo dance, which was popularized by the Ramones, it was a less violent dance with less physical contact. We were several, we were not limited, we were numerous, the gangs got together and that's how it grew. At a certain moment, the scene was very generous, we were lucky that the venues were open to us. We made events, hiring the salons, making the contracts, the formats from three months before to get the Seguro Social Theater. Booking the Calafornix Theater was a very simple thing, because apart, we were students, then, there was no difficulty to play in a CBTIS, Prepa Federal. That was in institutions and schools, not to mention the public places, and very different than now, they asked us if we wanted to play and even, offered to pay us".

"What was part of the punk rock attitude was to take for us the cultural institutions. In those days it was Mercado Negro in the Theater of the IMSS, the UABC or the Casa De La Cultura, it was because we took them, we went and they put a thousand and one obstacles, they made you sign a 90-day contract, you were responsible for this and the other, sign a series of ridiculous conditions. Actually, it was our dream to play there, to take those spaces as punk rockers. Now they have another vision, we respect them, but people say, "well, they have the government logo", but then we say that those institutions are really ours, they are public spaces for everyone".

ANTAGONISM

"You have to consider for that antagonism, that punk rock was not only music that the police wanted to repress, but also has an ideology that is countercultural and the cultural and artistic instances consider all cultural manifesto as part of art. It was also a whole concept involved, it was a counterpart where they said, "you dress in that way", yes, but it was a manifestation of art that has a philosophical and ideological content that deserves to be considered to participate in this type of instances, in this type of forums, they are obligated to have you for something, they could not avoid it, they could not take it from you away at all. We were part of those who fight for it, Luis Guereña was one who fought to open the UABC Theater not only for us, for the Tijuana residents beyond the punk rock movement. It was not only forbidden to play punk rock, but it was forbidden to play rock in those places, being punk rock the most radical, because the police and the system did not want us".

"They took the press so that the newspapers would cover the events. For example, there were two sides of the press, one, which covers the scandal of some police officers that seize a punk kid that got beat up and raped, they banish him and he has to go to Los Angeles, that's the journalistic note with a sensationalistic side on the hardcore side. For the punk rock, the artistic one is done with stuff like the concert began ten seconds later, that there was a small crowd and that there was a yawn. You begin to be judged from the media, especially Zeta, in that way for being a local punk rock artist, a style was made with a review of that type, and that was applied to us. We come to "innovate" for that journalism that was made at the national level, that was most used for judging the big musicians. The punks arrived to innovate the culture of Tijuana at the journalistic level and equal to the level of police repression because they had no work. Before they used to beat up the cholos, then, the punks arrived and they changed their targets. The cholos breathed, but paradoxically the cholos ceased and the punks still are around. Now it is not like before, now you can walk all tattooed with piercings and purple hair, maybe they make fun of you. Now, if you walk in normal clothes they could target you because they see the possibility of taking out your money. There are now kindergartners bringing their mohawks and it is accepted in schools, they even look beautiful".

THE FIRST RECORD

"For the first album, we took off a year with several implications that would have been different if we had released it out on time. A single year at the artistic level is like about ten years. The musical careers of the young artists are very short, at least in the music industry, the companies sign you for five years and the representation companies give you short contracts. Losing a year artistically is losing a lot of ground, however, the expectation that was generated with respect to the presentation of the album it opened many doors, and motivated other Tijuana groups to look for the same. It remains a highmark for a whole generation".

THE SCENE

"By 1987, after a resurgence of the scene that had already begun in form, all the groups of Tijuana, without exception, began to visualize the music as an art, as a way to stand out and not only in the community but in a larger scale. There was a very serious attitude toward music, the musicians started to evolve because they began to act like professionals. All the groups charged money to promoters, but, with the offer, they were giving back their best effort. When you saw bands like Armagedón, you knew that you would go to see a very professional image and above all, enjoy a good musical performance with a nice sound and stage, it had the same level of quality as the shows in San Diego. You went and watched Elena Coker with very great musicians or a group like Mercado Negro and you got something really good to enjoy, because that was the ideology, a very serious and professional attitude towards music, to such a degree that the groups took possession of the cultural instances such as the CECUT and La Casa De La Cultura. The press and the media, when they looked at the bands, considered them very serious. That enriched the cultural scene and the new generations wanted to be like the bands on stage".

THE CONQUEST OF ROCK EN TU IDIOMA

"The decade of the eighties culminates with a conquest. Rock En Tu Idioma arrived, it began to infiltrate radio stations. The cultural and artistic promoters began to realize that there was a new movement that had implications with the new youth, so they were mixing it with the popular music of the adolescents. Around 1989, there are three big concerts, Soda Stereo in the Auditorium with the Doble Vida tour, Caifanes with the El Diablito tour and with La Negra Tomasa song and the Coca Cola tour with Mana, Fobia and Rostros Ocultos. These three concerts were a determining factor in what would follow, it shook the local scene, because the new generations of musicians who emerged in the late eighties and early nineties, had an identity crisis. The movement that was well enriched in Tijuana, but suddenly it had a mirage. They began to follow the rock proposed by the new record companies. They made you change the concept, breaking with all the identity of Tijuana. Many people went and started doing well, giving up their principles by grabbing something quick".

"That was a preamble to what would come in the nineties, which was a struggle of definitions and trends. On the one hand, there was the new musical current of grunge and all the ideology that was completely opposed to the ideology of do-it-yourself and imposes apathy, disinterest. On the other hand, Rock In Tu Idioma becomes too castrated, to say, without strength, without a message to the conscience. All that was a shock to the Tijuana movement and I imagine that happened in other border cities. By then Mercado Negro began to join the group of artists that we met and began to have links with painters, actors, poets, and musicians of other genres. We formed a community of propositive Tijuana artists and we began to do events together and it was a kind of coexistence with very interesting things that came up, suddenly you saw Mercado Negro on a theatrical performance. "

REJECTION

"In the eighties, we played a lot, once a week and we wore out. We started to play differently and to musicalize plays, movies, poems, to do electronic music. We played with some pads and synthesizers, we did other things. We left the circle of playing punk rock and hardcore, tired of the fights, the same concerts, the same crowd, and the same music. On the one hand, there was some kind of rejection, but on the other hand no. It's like the brothers, because here there were two very strong movements, It's like the big families, the two brothers are always fighting, always envious, always putting obstacles and competing, then the brother says, "You know, I'm leaving the house, because I can not stand it anymore and I'm always fighting with you, because You're my brother and I do not want to get to hate you, I'm leaving the house". You take the decision to leave the house and suddenly the brother who repudiated you and who competes so much, goes and cries and says "no, don't leave us". Something similar happened to us, when we took the path of expanding our horizons and fortify our link with other ramifications of art, we began to feel that kind of situation that you mention to us".

"Curious, a door was closed, but many more were opened. The rejection was always understandable, more like envy than a competition. The competition had ended because they were two different genres, very opposed, where the journalistic note was inclined to that, to that type of stuff, but we were proposing another level that you did not find in the other movement. To some extent it was like envy because you can not take as rejection being selected to the National Theater Showcase in Monterrey, hanging out with John Paul Jones of Led Zeppelin or playing at the CECUT Theater. I do not see it as rejection, but nevertheless, among the people, there was a certain admiration and recognition that they are there and we are here and we can not get there".

THE NINETIES: THE DECADE OF DARKNESS

"In the nineties, we stopped participating with the group of artists, as we began to expand and to experiment with jazz. We came to fall with my uncle Lupillo in a project called Pillos Trío, which subsequently, evolved to Guadalupe Barajas Jazz Quartet or the Jazz Quartet with some prestigious guests. With this quartet we had very good presentations, helped us to musically progress and evolve. Our contribution to rock music ceased to be fundamental since in that decade we were displaced, not just us, also Armagedón and La Cruz were in that sense, there was a blackout".

"A new stream of tijuanenses musicians emerged, they got involved in the system and it was time for bands like Tijuana NO! and Julieta Venegas who were successful and were prominent rock stars. It was a decade of darkness for the local bands, they imposed the system and took out the groups of the eighties that had experience. There were displaced by that rock "españolero" that was within the system. We did not want to fall into that and got involved in jazz and other things. We did not stop playing, but they were sporadic presentations, for example, we went to Mexico City with the concept of jazz and we also played punk rock, and the extra was that Lupillo Barajas played rock and roll with Mercado Negro, we made a big impression there, but it was only once, we should have done it more".

"Unfortunately the globalization of art, culture and politics and everything, caused that those who had a proposal became a product. In the decade of the nineties that change was created, it was a chemical soup that affected everything, the propositive artists became musical products, and just as the commercial food products have an expiration date, the musical products had their validity. The record companies started making contracts for five years and things like that. So, then, the only alternative to being able to survive was to continue playing, to continue expanding our horizons and it was that we fully entered jazz to be able to give it some validity. We made sporadic presentations of the Mercado Negro, maybe, once a year or twice. That's how we managed to survive that dark decade. We had good presentations, we were supported by jazz musicians and we presented something unattainable, that also counts a lot so that they do not take you seriously. While the others were very simple, we were proposing very radical things, so then, we did not enter there with them. It was good the idea to overcome you musically, but at the same time, you did not enter into the taste of the people either".

THE NEW MILLENNIUM

"In 1999 it was a year that put things in perspective, because everybody was with the idea that the world was going to end, and even Nostradamus becomes famous. The means of production become accessible and we set up this studio for recording and production. We produced groups and then, we decided to make our first CD entitled Sobreviviendo with four songs. We joined musicians of the nineties such as Alejandro Perales, Miguel Arce, and Jesús Laborin, we started to give continuity to the band, since we had the hope that the industry perspective would take a turn, we allowed ourselves to give another try. Later, some people came from Los Angeles with a project called Mexamerica, where musicians from the old school of Latin and Chicano rock like Willy Herron and Los Illegals, Jesús Martínez and others invited us to record. We make this record, where also other musicians from Tijuana were involved. It was presented in the city of Los Angeles and with a lot of good vibe, we continue to play live".

"In 2002, two very important things happened. Luis Guereña, who was the promoter of the punk rock scene and who subsequently formed part of Chantaje and now played with Tijuana NO!, leaves this band for ideological reasons. In that same year, Joe Strummer, leader of The Clash dies. We think of doing homage in remembrance with musicians of Tijuana NO! who were with the project vacated, since Cecilia Bastida and Luis Guereña were the protagonists of that project. Alejandro Zúñiga and Jorge Jiménez were in recess, we have an approach and together, we decided to do the Joe Strummer tribute project. We started to make a series of presentations and amalgamate, there is chemistry. Then, I proposed to do a project where it has nothing to do with any of the two bands, and in fact, we did it, musicians from La Borrasca like Cesar Ortega and Miguel Arce joined us. It was a project of six musicians, unfortunately, when we were about to record and do things more seriously, the project imploded".

"For 2003, we were just Alejandro, Martín, Jesús and Jorge, it's the time when the proposal to tour Europe for Tijuana NO! came out, but Alejandro mentioned that the group was dismembered. Then he proposed that Mercado Negro should be part of this project that could be a collective of different players. We played music from Tijuana NO!, from Mercado Negro and from the tribute to Joe Strummer, that's how the European tour comes about, wherein a moment, musicians from Tijuana NO! play music from Mercado Negro and vice versa, it was a very interesting project. Returning, the rest of the invited musicians return to their own projects and we continue with the idea of a tribute to The Clash".

"Beginning in 2004, Luis Guereña dies too and the remainder of Tijuana NO! is reunited to make a posthumous tribute and we also participate in these events. By 2005, Tijuana NO! does a mini tour of Germany and we go our own way again. Mercado Negro continues rehearsing and suddenly, Jorge Jiménez visits us and starts playing music of the project he had with Luis Guereña, we accompany him jamming and he tells us, "let's make a project" and we tell him to let us present to the public the music of Luis Guereña, a totally new thing with the concept that he had of Tixuanarkia, that for questions of legal implications, we modified it to Agresores. Since it was a very own concept of Luis Guereña, we did not want to get involved in that kind of situations, that's why we named it Agresores, having a lifespan of almost four years, from 2004 to 2007. After Jorge Jiménez left the project, we still gave it some continuity to cover a series of commitments that we had already agreed upon. The project had a great impact, very professional, competitive at an international level. The musical evolution of Jorge Jiménez in this particular genre, with the support we gave him, could have been a very symbolic thing internationally, unfortunately, the project was lost ".

CONTINUING

"Since we are vocation musicians and since we have little more than thirty years playing, we have returned from 2008 to the present to continue with our project that is Black Market / Mercado Negro for the simple fact that we are what we are. We do not have the idea of wanting to go on MTV or something like that. Perhaps the age, sooner rather than later, will prevents us from giving continuity to the project, because when you get older, it's already a little out of context, but the music of Mercado Negro seeks to be focused on the conscience of the human being, we are not at a certain age for a certain genre or audience, we have always made timeless music, it is music that has no expiration".

XXX ANNIVERSARY

"The Tijuana Cultural Center and the Municipal Institute of Art and Culture sheltered the XXX Anniversary project, whose culmination will be a chronicle book that has the support of the Institute of Culture of Baja California. the book is called Cronicas Tixuarockeras and there is already a prototype. It is a project that is sponsored by a grant from the PEDCA Program and is the chronicle of the last forty years. This book is the chronicle from 1960 to 1999, where my brother Martin has a part very important, is the co-star".

"These same cultural instances sponsored some presentations in a project called Remembranzas Alternativas, with music that we heard from the late seventies to the eighties, combined with our music that has had very good acceptance. We have in mind to open a circuit where we also do some presentations where the perspective is bringing Black Market music to the city delegations, as we did in our origins, to the popular colonies, because it was something very particular that we did at the beginning. We also had a short tour in Mexico City called Producto Defectuoso, short, but very productive, there we made good contacts and had the opportunity to play with great legends of punk rock in Mexico City and the State of Mexico ".

(Interview conducted at MN Studios in May 2012)

UPDATE

Since the interview, Mercado Negro has gone back to their early punk rock roots, bringing back old band members that have been playing with them on many of their recent shows and jams. They restored La Cueva ballroom to do sessions with special guest bands, even, with a reunited Agresores, just for the pleasure of play music. In 2017, finally, Jesus released Cronicas Tixuarockeras, a book with a lot of awesome pictures from all their best moments performing and featuring a lot of cool stories from the start of the punk rock scene in Tijuana.

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coahuila-de-zaragoza · 7 years ago

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Sus Municipios y respectiva población

Saltillo 807 537

Torreón 679 288

Monclova 231 107

Piedras Negras 163 595

Acuña 147 809

Matamoros 108 950

San Pedro 106 142

Ramos Arizpe 92 828

Frontera 80 991

Muzquiz 69 102

Sabinas 63 522

Francisco I. Madero 58 360

Parras de la Fuente 44 799

San Juan de Sabinas 43 232

Nava 30 698

Castaños 28 068

San Buenaventura 23 587

Arteaga 23 271

Allende 22 654

Viesca 21 549

Cuatro Ciénegas 13 546

Zaragoza 13 257

General Cepeda 12 471

Ocampo 11 671

Jiménez 10 243

Morelos 8 599

Sierra Mojada 6 988

Nadadores 6 614

Villa Unión 6 352

Progreso 3 304

Escobedo 3 077

Sacramento 2 360

Lamadrid 1 773

Candela 1 720

Guerrero 1 697

Juárez 1 574

Hidalgo 1 565

Abasolo 1 015

En general Según las cifras que arrojó la "Encuesta Intercensal 2015" realizada por el Instituto Nacional de Estadística y Geografía (INEGI), el estado de Coahuila de Zaragoza cuenta con un total de 2 954 915 habitantes al año 2015, de dicha cantidad, el 49.15% (1 462 612) son hombres y el 50.5% (1 492 303) son mujeres.

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fabioferreiraroc · 5 years ago

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Os 30 melhores filmes de época da história do cinema

Retratando acontecimentos históricos e os costumes de cada sociedade no passado, os filmes de época nos fazem sentir saudade de alguns hábitos, mas também agradecer pelas mudanças. Para os que apreciam os dramas históricos, a Bula elencou os 30 melhores em um ranking, classificados de acordo com as notas recebidas no site Rotten Tomatoes.

Criar um filme de época bem-sucedido é uma difícil missão. Além de retratar com fidelidade o passado, o longa deve encontrar uma forma de agradar o público moderno. Mas, quando o diretor obtém êxito, a obra geralmente entra para o rol dos clássicos do cinema. Para os que apreciam o gênero, a Bula elencou os 30 melhores em um ranking, classificados de acordo com as notas recebidas no site Rotten Tomatoes. Entre os mais bem-avaliados, estão longas como “Adoráveis Mulheres” (2019), de Greta Gerwig; “Lanternas Vermelhas” (1991), de Zhang Yimou; e “A Lista de Schindler” (1993), dirigido por Steven Spielberg.

Imagens: Divulgação / Reprodução IMDb

30 — Colette (2018), Wash Westmoreland

Após se casar, Sidonie-Gabrielle Colette se muda para Paris no início dos anos 1920. Seu marido, Willy, é um editor que ganha a vida publicando textos de outros escritores como se fossem de sua autoria e, ao perceber o talento de Colette, a obriga a escrever romances. Inicialmente, ela aceita o trabalho e os livros logo se tornam um sucesso na França. Mas, cansada dos abusos do marido, Colette começa a reivindicar a autoria de suas obras, chocando a sociedade parisiense.

29 — O Dia Mais Longo (1962), Ken Annakin

O filme retrata o ataque do dia 6 de junho de 1944, conhecido como Dia D, decisivo para o fim da Segunda Guerra Mundial. Apesar do mau tempo, os Estados Unidos e as forças aliadas planejavam invadir a Normandia, território francês, e libertar os europeus do domínio nazista. Com mais de 150 mil homens, essa foi a maior armada da história.

28 — Como Água para Chocolate (1992), Alfonso Arau

Tita é a filha mais nova de uma matriarca, vítima de uma tradição local que diz que a caçula da família não pode se casar, pois tem o dever de cuidar da mãe. Ao crescer, Tita se apaixona por Pedro Muzquiz, que corresponde e pede que ela seja sua noiva. Mas, a mãe de Tita proíbe a união, insistindo que Pedro se case com uma de suas filhas mais velhas. Como essa é a única maneira de permanecer perto de Tita, Pedro aceita.

27 — Emma (2020), de Autumn de Wilde

Emma Woodhouse é uma jovem linda, rica e inteligente. Para continuar cuidando do pai viúvo, ela diz que não pretende se casar, mas gosta de agir como casamenteira, juntando os solteiros da região. Após conhecer a inocente Harriet Smith, Emma encontra a distração perfeita: arrumar um marido ideal para sua nova amiga. O filme é baseado na obra homônima de Jane Austen.

26 — Os Dez Mandamentos (1956), Cecil B. DeMille

O faraó do Egito Ramsés I ordena a morte de todos os recém-nascidos homens hebreus. Yochabel salva seu bebê, colocando-o num cesto à deriva no rio Nilo. Ao banhar-se, uma filha do faraó vê o cesto e decide adotar o menino, dando-lhe o nome de Moisés. Ele cresce como um príncipe do Egito, mas quando adulto descobre sua descendência e assume a missão de libertar seu povo da escravidão.

25 — 1917 (Sam Mendes)

No auge da Primeira Guerra Mundial, em 1917, no norte da França, dois soldados britânicos, Schofield e Blake, recebem uma missão aparentemente impossível: atravessar um território inimigo para alertar outro batalhão britânico sobre uma emboscada mortal. Assim, eles correm contra o tempo para impedir que mais de 1.600 soldados, incluindo o irmão de Blake, caiam na armadilha.

24 — Lincoln (2013), Steven Spielberg

O filme acompanha os esforços do presidente Abraham Lincoln, em 1865, para aprovar na Câmara dos Deputados a lei de abolição da escravatura. Muitos políticos, preocupados com a Guerra Civil norte-americana, acham que é uma decisão prematura. Mas, Lincoln quer resolver a questão antes do fim do conflito. Enquanto busca aliados, Lincoln também precisa lidar com seus problemas familiares e pessoais.

23 — Titanic (1997), James Cameron

Jack Dawson é um artista pobre que, durante uma aposta, ganha uma passagem para viajar no Titanic, um luxuoso navio que parte do Reino Unido para os EUA. No navio, ele conhece Rose, uma jovem da elite prestes a se casar com o magnata Caledon. Rose acaba se apaixonando pelo artista, despertando a fúria de seu noivo, que prende Jack. Quando o navio se choca com um Iceberg, Rose corre para libertar o amante.

22 — O Jogo da Imitação (2014), Morten Tyldum

Em 1939, o governo britânico recruta uma turma de cientistas para analisar o “Enigma”, código usado pelos oficiais nazistas para enviar mensagens aos submarinos. Entre eles está Alan Turing, um criptógrafo que lidera a criação de uma máquina para decifrar os códigos em apenas 18 horas, de forma que os ingleses consigam ler os planos dos alemães. Mas, para que tudo dê certo, Alan precisa aprender a trabalhar em equipe.

21 — Shakespeare Apaixonado (1999), John Madden

William Shakespeare, o jovem astro do teatro londrino, está passando por um bloqueio criativo. Mas, após conhecer a jovem Viola de Lesseps, ele encontra a inspiração para escrever sua próxima peça: Romeu e Julieta. Viola sonha em ser atriz, mas essa é uma profissão proibida para mulheres. Então, ela se disfarça de homem para ensaiar o texto de Shakespeare. Os dois acabam se apaixonando, mas a jovem já está noiva de um lorde.

20 — A Favorita (2018), Yorgos Lanthimos

O filme conta a história da última monarca da família britânica Stuart, a Rainha Anne, que reinou entre os anos de 1702 e 1707. Sarah Churchill, a Duquesa de Marlborough, era a confidente, conselheira política e amante secreta da rainha. Mas, a influência de Sarah é colocada à prova com a chegada de Abigail, sua prima distante que veio buscar um posto no palácio. A nova criada se aproxima aos poucos da rainha e deixa claro que não medirá esforços para subir na vida.

19 — Estrelas Além do Tempo (2017), Theodore Melfi

Em 1961, durante a Guerra Fria, os Estados Unidos e a União Soviética travam uma batalha pela supremacia na corrida espacial. Na NASA, três cientistas negras são convidadas para ajudar no desenvolvimento da missão que levará o homem à Lua. Devido à segregação racial, elas ficam separadas e enfrentam muitos preconceitos, mas o trabalho delas é fundamental para que a missão seja possível.

18 — Dunkirk (2017), Christopher Nolan

Durante a Segunda Guerra Mundial, soldados da Bélgica, Inglaterra e França são cercados pelo exército alemão nas praias de Dunkirk. Sob cobertura aérea e terrestre das forças britânicas, eles esperam ser resgatados. O filme acompanha três momentos diferentes da operação. No céu, o piloto Farrier tenta destruir um avião inimigo; em alto mar, sr. Dawson leva seu barco de passeio para ajudar no resgate; e na praia, o soldado Tommy faz de tudo para escapar com vida.

17 — Tempo de Glória (1989), Edward Zwick

Baseado numa história real, o filme conta a história de Robert Goul Shaw, um jovem abolicionista sem experiência, mas de uma família influente, que recebe o comando do primeiro batalhão composto exclusivamente por negros, durante a Guerra Civil Americana. Lutando contra os Confederados, Shaw se esforça para que os seus soldados tenham o mesmo tratamento e recebam o mesmo salário que os brancos.

16 — Carol (2015), Todd Haynes

A jovem Therese Belivet tem um emprego entediante em uma loja de departamentos e sonha com uma vida gratificante. Um dia, ela conhece Carol Aird, uma elegante cliente que busca um presente de natal para a filha. Carol está presa em um casamento fracassado e também almeja um novo futuro. Elas se atraem e iniciam um relacionamento amoroso. Mas, quando o marido de Carol descobre o envolvimento das duas, resolve persegui-las.

15 — Educação (2009), Lone Scherfig

Jenny é uma bela garota de 16 anos que vive com a família no subúrbio londrino. Entediada com a adolescência, ela se apaixona por David, um homem rico e mais velho, que começa a levá-la para concertos, leilões de arte e outros eventos da alta sociedade. Ao lado de David, Jenny descobre uma vida mais divertida. Mas, seus pais ainda esperam que ela vá estudar em uma universidade tradicional.

14 — Adoráveis Mulheres (2019), Greta Gerwig

As irmãs Jo, Beth, Meg e Amy encaram as experiências e dificuldades da juventude enquanto os Estados Unidos atravessam a Guerra Civil. Com o pai ausente e a mãe trabalhando para sustentá-las, elas ficam sob os cuidados de uma tia e enfrentam problemas como falta de dinheiro, tragédias familiares e rivalidades românticas. O filme é inspirado no livro “Mulherzinhas” (1868), de Louisa May Alcott.

13 — O Discurso do Rei (2011), Tom Hooper

Desde a infância, o príncipe George é gago. Esse é um sério problema para ele, que constantemente precisa fazer discursos. Após tentar vários métodos, ele é vencido pela insistência da esposa e aceita visitar mais um terapeuta de fala, o dr. Lionel Logue. Inicialmente, George duvida das técnicas pouco convencionais de Logue, mas rapidamente percebe que está progredindo. Agora, ele precisa se preparar para o seu maior desafio: assumir a coroa.

12 — 12 Anos de Escravidão (2013), Steve McQueen

Baseado em uma história real, o longa narra a incansável luta de Solomon Northup pela sua sobrevivência. Escravo liberto, um dia ele aceita uma proposta de emprego em outra cidade, onde é sequestrado e acorrentado. Vendido como escravo, Solomon supera constantes humilhações físicas e emocionais. Ao longo de 12 anos, ele passa por dois senhores, Ford e Edwin Epps, que exploram seus serviços.

11 — O Pianista (2003), Roman Polanski

O pianista judeu Wladyslaw Szpilman interpreta peças clássicas em uma rádio de Varsóvia até que as primeiras bombas caem sobre a cidade, em 1939. Com o início da 2ª Guerra Mundial, os judeus passam a ser perseguidos e a família de Szpilman é capturada e enviada para os campos de concentração. Ele é o único que consegue fugir e se esconde em prédios abandonados de Varsóvia à espera do fim da guerra.

10 — Argo (2012), Ben Affleck

Em 1979, a embaixada norte-americana em Teerã é invadida por militantes islâmicos e estudantes iranianos, que fazem todos de reféns. Seis americanos conseguem fugir e se esconder na residência do embaixador do Canadá no Irã. Para salvá-los, um agente da CIA tem a ideia de montar uma equipe de falsos atores. Sob o pretexto de gravarem um filme fictício chamado Argo, eles conseguem entrar no Irã para a missão de resgate.

09 — Lanternas Vermelhas (1991), Zhang Yimou

Na China de 1920, a universitária Songlian se vê obrigada a casar com um homem mais velho. O marido, poligâmico, já tem outras três mulheres, todas vivendo em aposentos diferentes. À noite, ele acende as lanternas vermelhas da casa onde irá passar a noite. A esposa escolhida da vez recebe algumas regalias e tratamento especial por parte da criadagem. Esses privilégios acabam gerando intrigas e inveja entre as mulheres.

08 — O Irlandês (2019), Martin Scorsese

Frank Sheeran, “O Irlandês”, é um veterano de guerra cheio de condecorações. Ele aprendeu a matar servindo na Segunda Guerra Mundial e divide seu tempo entre os trabalhos de caminhoneiro e assassino de aluguel para a máfia. Já velho, Frank reflete sobre sua carreira no mundo do crime e seu envolvimento com os Bufalino, uma família de mafiosos. Ele também relembra seu envolvimento no desaparecimento do líder do sindicato dos caminhoneiros, Jimmy Hoffa, que era seu amigo de longa data.

7 — Apollo 13: Do Desastre ao Triunfo (1995), Ron Howard

6 — A Lista de Schindler (1993), Steven Spielberg

Em 1939, o empresário Oskar Schindler chega à cidade de Cracóvia com a intenção de lucrar com seus negócios durante a guerra. Aproveitando sua influência dentro do partido nazista, ele consegue abrir uma fábrica de panelas e emprega judeus poloneses por serem mais baratos. Subornando o tenente Amon Göth, Schindler garante que seus empregados não sejam mandados para campos de concentração. Mas, com o avanço da guerra, a situação fica insustentável.

5 — Brooklyn (2015), John Crowley

A jovem irlandesa Ellis Lacey está insatisfeita com a vida que leva em uma pequena cidade irlandesa. Em busca de trabalho, ela se muda para os Estados Unidos e vai morar no Brooklyn. Por mais que sinta falta de casa, Ellis se esforça para construir uma nova vida e se apaixona por Tony, um bombeiro italiano. Uma tragédia familiar a leva de volta à Irlanda, onde ela conhece Jim. Agora, Ellis precisa se decidir entre dois países e amores.

4 — Razão e Sensibilidade (1995), Ang Lee

Uma viúva e suas três filhas passam a enfrentar dificuldades financeiras, pois praticamente toda a herança deixada pelo marido foi dada a um filho do primeiro casamento dele. Ela vai morar com as filhas em um chalé emprestado em Devonshire, onde as irmãs mais velhas, Elinor e Marianne, se apaixonam pela primeira vez. Mas, agora que elas não têm como pagar dotes, conseguir um casamento será muito difícil.

3 — Retrato de Uma Jovem em Chamas (2020), Céline Sciamma

Na França do século 18, Marianne é uma jovem pintora contratada para fazer um retrato de Héloïse, sem que ela saiba. A mãe de Héloïse pretende enviar a pintura para um pretendente da filha, oferecendo-a em casamento. Como o plano é um segredo, durante o dia Marianne se disfarça como dama de companhia de Heloïse e passa as noites pintando. Com o passar do tempo, ela se apaixona por sua modelo.

2 — Selma: Uma Luta Pela Igualdade (2014), Ava DuVernay

Esta é uma cinebiografia do pastor e ativista social Martin Luther King, que liderou uma perigosa campanha em busca de direitos eleitorais igualitários para a comunidade negra. O filme acompanha as marchas realizadas por ele e outros manifestantes, em 1965, entre a cidade de Selma, no interior do Alabama, até Montgomery, a capital do Estado.

1 — Uma Janela para o Amor (1986), James Ivory

No início do século 20, a jovem aristocrata Lucy faz sua primeira viagem à Florença, na Itália, acompanhada de uma prima. Hospedada numa pensão, Lucy conhece George, um jovem libertário guiado por ideias modernas. Eles se apaixonam e vivem um breve romance. De volta à Inglaterra, Lucy precisa tomar uma grande decisão: casar-se com seu antigo noivo Cecil Vyse ou seguir seu coração e ir atrás de George.

Os 30 melhores filmes de época da história do cinema Publicado primeiro em https://www.revistabula.com

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fic-dreamin · 7 years ago

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Tita’s “inner fire” comes from her love of Pedro Muzquiz Laura Esquirel’s “Like Water For Chocolate: A Novel in Monthly Installments with Recipes Romances, and Home Remedies” explores the domestic restrictions females faced in 20th century Mexico through a series of traditional recipes. The book follows the life of, Tita de la Garza, a young woman who expresses her frustrations of the cultural restraints she is faced with in her cooking. As the youngest daughter, Tita is not allowed to marry, and is expected to spend her life caring for her mother. The book explores the theme of an “inner fire” or an individual’s passion. Tita’s “inner fire” comes from her love of Pedro Muzquiz, whom she is forbidden from marrying. Pedro, instead marries Tita’s sister Rosaura, in order to remain close to Tita. Tita expresses her “inner fire” in her cooking; the only outlet she is truly allowed to pour her emotions into in her restrictive domestic world. Tita’s “inner fire” is released in fantastical ways throughout the novel. This book uses beautiful and descriptive imagery to describe the obstructions females faced in Mexican culture during this time period. Any feminist would enjoy this novel about Tita de la Garza’s fight for individuality and expression in a patriarchal society. Extremes of revolutionary feminine freedom as well as traditional domestic restrictions are represented in the characters of Gertrudis and Mama Elena. Gertrudis is the eldest daughter, who was conceived out of wedlock, and represents the freedom and passion Tita wishes to express herself. When Gertrudis eats a meal prepared by Tita, containing a rose Pedro gave to her, the lust Tita holds for Pedro is transferred to Gertrudis. Gertrudis is overwhelmed with passion, and when she takes a shower to cool off, the bathroom is set ablaze; once again bringing back the theme of “inner fire.” Gertrudis escapes the restrictive ranch naked on the back of an army man’s horse. This was the epitome of humiliation for Mama Elena, as Gertrudis went completely against the traditional feminine norms of society. When Gertrudis returns, she is a general of the army. Once again representing a feminine character taking charge in a traditionally patriarchal world. Mama Elena, on the other hand, represents the domestic restrictions of 20th century Mexico. Mama Elena strives to maintain the traditional cultural values, that were restrictive to her as well. She takes out her anger on Tita and focuses all her energy on restraining her from finding her individuality. This book explores the struggles of finding oneself when society already has an idea of who you should be. This book tells the beautiful and touching story of Tita de la Garza and her journey of expressing her “inner fire” in a culture that doesn’t allow her to do so. I would recommend this book to anyone who appreciates a tale of fighting for love, individuality, and self expression against all odds. Go to Amazon

Thoroughly entertaining story; brought me to love Magical Realism My book club read this book Mexico as we "read our way around the world." We were not disappointed! This was my first introduction to magical realism, and I was in love from the first page. Don't expect the characters or story to be extremely developed. This is one of those books that you might find yourself speeding through and then wildly contemplating once it's over. While the story isn't pointedly about Mexican history or culture, we learned about those aspects in perfect little doses through the writing style and story line. My group was interested and entertained. I enjoyed the book so much that I bought myself a copy after I read the library's copy. Go to Amazon

Like Water for Chocolate by Laura Esquivel is an enthralling ... Like Water for Chocolate by Laura Esquivel is an enthralling novel that entices the reader with sexual desire and recipes that arouse the senses. It concentrates on the completely female De La Garza family, particularly on the youngest daughter and protagonist Tita, and the antagonist her tyrannical mother, on their family farm in Mexico during the Revolution. Tita was born and practically raised in the kitchen by the cook Nacha, which began her passion for cooking and allowed her to share her emotions through her cooking. Trapped in the De La Garza’s strict family tradition that the youngest daughter must care for her mother until the day she dies, Tita is condemned to take care of Mama Elena and remain unmarried. This becomes problematic when Tita falls in love with Pedro but is not allowed to marry him. As if denying Pedro’s request for Tita’s hand in marriage is not enough, Mama Elena takes it a whole other step by allowing Rosaura to marry Pedro. However Pedro only agrees to marry Rosaura in order to remain close to his true love, Tita. The rest of the book revolves around Tita and Pedro’s complicated, forbidden relationship, Tita’s constant trials from her mother, and the mouth-watering dishes prepared by Tita that show her emotions. Her life remains full of resentment and until a series of deaths, misfortunes, and fate finally unites Pedro and her again. Go to Amazon

Five Stars Five Stars Magical Realism at its best! Good It bored me. I don't recommend it A heartfelt love story good read Nice lighthearted part fantasy novel Gorgeously told story Good

#Carol & Thomas Christensen: Books

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tachtutor · 5 years ago

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» A Movie Review by Dan Stumpf: BEYOND ALL LIMITS (1959).

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REVIEWED BY DAN STUMPF:

BEYOND ALL LIMITS. Cinematografica Latino Americana, Mexico, 1959. Original title: Flor de mayo. Maria Felix, Jack Palance, Pedro Armendariz, Juan Muzquiz, Carlos Montalban, and Paul Stewart. Screenplay by Libertad Blasco Ibanez, from the novel by Vicente Blasco Ibanez. Directed by Roberto Gavaldon.

Just a Soap Opera, but like all good soaps it hovers at…

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ctvsalitalnet-blog · 6 years ago

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Estas son las obras que no se puede perder en la semana del arte

New Post has been published on https://www.ctvsatelital.net/estas-son-las-obras-que-no-se-puede-perder-en-la-semana-del-arte/

Estas son las obras que no se puede perder en la semana del arte

Bienvenido

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ArtBo

‘Place On-Fold’, de la mexicana Carmen Argote, está ubicada en la sección ‘Sitio’, de la Feria Internacional de Arte de Bogotá. Está compuesta por indumentaria y retazos muy finos de tela muselina que se descuelgan desde una altura de siete metros hasta el piso , y cuyos patrones están inspirados en los archivos de fotografía del Jardín de las Esculturas en México. Para la artista, la mezcla cultural de lo indígena con lo español materializa la idea de la identidad mexicana, y la acción representa un movimiento entre clases y una metáfora del mestizaje.

ArtBo

Carlos Cruz-Diez (Venzuela), considerado uno de los exponentes más importantes del arte cinético y óptico en Latinoamérica, presenta Transcromía, 1967/2017 (RGR+ART), una instalación pensada específicamente para el espacio, compuesta por una serie de láminas de color que crean en conjunto un laberinto que da cuenta del comportamiento del color por sustracción. A lo largo de su carrera, el artista se ha centrado en la composición cromática y la percepción del espectador frente a las obras (varios de sus proyectos exploran la variación del color y la sensación de movimiento que se genera dependiendo del punto de vista del espectador). Ubicada en la sección ‘Sitio’, de ArtBo.

ArtBo

Hacedores de Lluvia/Rainmakers, 2017 (Max Estrella) de Miler Lagos (Colombia) es una instalación interactiva que consiste en un anillo de madera rodante de cinco metros de diámetro suspendido sobre un espejo de agua que se activa cuando el público camina en su interior. Con el movimiento, el agua de la superficie sube hasta la parte superior del anillo, y al llegar al punto más alto de la rueda, la gravedad hace que las gotas caigan en forma de lluvia. Esta obra hace referencia a la energía vital y a la relación del ser humano con su entorno y la naturaleza. Está en la sección ‘Sitio’, de ArtBo.

ArtBo

Obra de Fila Sidival, traída a la sección Principal de Artbo, por la galería Jerome Poggi.

ArtBo

Pedro Gómez-Egaña. ‘The Chariot of Greenwich’, 2013. Se encuentra en la sección principal de ArtBo.

ArtBo

Milena Muzquiz Sin Título 3, 2011 Cerámica esmaltada. Galería Instituto de Visión, en la sección Principal.

ArtBo

Luis Asín. Colecciones Reales, 2016. Fotografía. Esta obra hace parte de la galería Espacio Valverde, dentro de la sección ’21m2′, ubicada en la parte Principal de ArtBo.

Barcú

En Barcú, Sair García (Barrancabermeja, 1975) exhibirá, en la Casa Colonial (Calle 10 n.° 1-37), la serie Magdalena, en la que presenta su investigación sobre el más importante río de Colombia y en la que muestra, “los devenires, la importancia que tenía el río en tiempos anteriores para los pueblos que recorría y en lo que se convirtió”. García quiere reivindicar al río, llamar la atención del público alertando sobre, “la necesidad de recuperar su navegabilidad y recreando distintos lugares en donde la gente está muriendo por contaminación, por ejemplo, en la Ciénaga Grande de Santa Marta, la nueva Venecia, Patrimonio de la Humanidad”. Son más de 30 piezas.

Barcú

Filippo Minelli presenta una serie de fotografía, producto de una residencia artística, que forma parte del proyecto Silence Shapes que el artista inició en 2009 y que lo ha llevado a diversos lugares de Europa, Asia, África y América. El artista hace uso de las bombas de humo de colores para intervenir los paisajes de sus fotografías. La obra de Minelli no solo contiene un mensaje estético sino que también transmite múltiples significados conceptuales.

Feria del millón

Agustina Lallana. El Revuelo. Fotografía digital. Impresión Giclée. Esta obra se venderá en la Feria del Millón.

Feria del millón

Klaus Lundi. Tabakwaren/6.30PM. Fotografía. Se venderá en la Feria del Millón.

Feria del Millón.

Edisson Montenegro. Fracking. Escultura sonora. 2017. Se venderá en la Feria del Millón.

Feria del Millón.

Natalia Hoyos. Nostalgia Tropical. Fotografía. 2018. Se venderá en la Feria del Millón.

ArtChicó

La obra ‘Naturaleza muerta’, de Fernando Botero, se exhibirá en la feria ArtChicó.

ArtChicó

‘Cóndor’, de Alejandro Obregón, se expondrá en ArtChicó.

Le recomendamos varios proyectos, que puede encontrar en cada feria de arte, para que vaya a la fija

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littlestpetdjpinkie-blog · 6 years ago

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15 FILMES PARA QUEM AMA GASTRONOMIA

Vamos hoje abordar a cozinha a partir da visão do cinema.

Ao longo da história a cozinha tem sido ambiente de dezenas de filmes.

Veja abaixo a seleção de filmes que preparei para quem ama a culinária e filmes, claro!

01. Pegando Queima (2015)

O dirigente de cozinha Adam Jones (Bradley Cooper) já foi um dos mas respeitados em Paris, porém o envolvimento com álcool e drogas fez com que sua curso fosse ladeira abaixo.

Depois um temporada de isolamento em Novidade Orleans, este secção para Londres disposto a reencetar a curso e ocupar a sonhada terceira estrela no falado guia Michelin de restaurantes.

Para tanto este conta com a ajuda de Tony (Daniel Brühl), que gerencia um restaurante na capital britânica, e recruta uma equipe de velhos conhecidos.

02. O Sabor da Magia (2005)

Tilo (Aishwarya Rai) é uma senhora obscura, que é dona de uma loja de especiarias e cobija o dom mágico de converter seus ingredientes em poções para medicar as pessoas.

Porém há uma regra: Tilo nunca poderá atestar alguma de suas receitas ou se gostar, caso contrário perderá seu dom.

03. Toast: A História de uma Garoto com Rafa (2010)

Fundamentado na lembranças sobre a vida do chef Nigel Slater, Toast é situada na década de 1960, e acompanha a vida de um rapaz que, ao perder a mãe, enfrenta dificuldades de se relacionar com o pai e a madrasta, procurando na culinária uma forma de se expressar e superar as dificuldades.

04. O Condimento da Vida (2003)

Fanis (Markos Osse) é um moleque heleno que vive em Istambul, na Turquia. Seu avô, Vassilis (Tassos Bandis), é um pensador culinário que o ensina que tanto a comida quanto a vida precisam de alguma coisa de sal para lucrar sabor.

Ao evoluir Fanis (Georges Corraface) se torna um astrofísico, que usa seus dotes de culinária para temperar as vidas das pessoas que o cercam.

Ao preencher 35 anos este decide deixar Atenas e retornar a Istambul, para reencontrar seu avô e também seu primeiro paixão.

05. Soul Kitchen (2009)

Zinos Kazantsakis (Adam Bousdoukos) é proprietário do restaurante Soul Kitchen. O negócio não anda muito, porque os compradores não aprovam a comida feita pelo novo chef.

Para dificultar, Nadine (Pheline Roggan), sua namorada, resolveu se mudar para Xangai e uma horrível dor nas dorso o atormenta.

Zinos decide ir detrás da querida, porém para isso precisa deixar o comando do restaurante nas mãos do irmão, que conclui de transpor da prisão.

06. Iguaria da Espírito (1997)

O jantar de domingo na vivenda de Mother Joe (Irma P.Hall) é de conceder agua na boca, uma tradição que já durabilidade 40 anos.

Aos olhos de seu neto Ahmad (Lento Hammond ) paixão e sorrisos continuamente fazem uma parte do lista, apesar da costumeira rivalidade entre suas mãe Maxine e as irmãs dela, Teri e Bird. porém quando brigas mas sérias começam a desgostar a família, os bons tempos repentinamente ficam esquecidos.

Agora é a vez de Ahmad de reunir a o mundo inteiro e ensinar-lhes o verdadeiro significado de maná da espírito.

07. A Garçonete (2007)

Jenna (Keri Russell) trabalha como garçonete e sonha em ligar grana suficiente com intenção de tenha como largar Earl (Jeremy Sisto), seu marido prepotente e controlador.

Ela cobija o dom de fazer tortas singulares, as quais são inspiradas pelos obstáculos e circunstâncias de sua vida.

Entretanto uma prenhez inesperada muda seus planos, fazendo com que ela se fortaleça ao resolver redigir cartas para o bebê que espera.

08. Românticos Anônimos (2010)

Angélique Delange (Isabelle Carré) é uma talentosa doceira, que faz chocolates requintados reconhecidos por público e sátira especializada.

Entretanto, como estaca ansiosa quando olham para ela, Angélique prefere o anonimato e finge ser unicamente uma entregadora. Sem trabalho, ela consegue trabalho na Fábrica de Chocolates, que está à beirada da falência.

Só que, longe disso do que imaginava a princípio, consegue a vaga de representante mercantil da empresa.

Ela pensa em solicitar a alteração de incumbência, porém é surpreendida com o invitação para jantar de Jean-René Van Den Hudge (Benoît Poelvoorde), possessor da empresa.

O impecilho é que Jean-René, como Angélique, é extremamente tímido e cobija varias dificuldades em sustentar contato com outras pessoas.

09. Como um Chef (2012)

Jacky Bonnot (Michael Youn) é um mestre-cuca amante e o seu sonho é ser muito sucedido num restaurante de extensa nível.

Rosto à sua situação financeira, este será, pelo contrário, obrigado a trabalhar em pequenos empregos de cuca que não chegam a satisfazê-lo.

Até o dia quando encontra Alexandre Lagarde (Jean Reno), um chef excessivamente reputado.

10. Como Agua Para Chocolate (1992)

Tita (Lumi Cavazos) nasceu na cozinha do rancho de sua família, quando sua mãe (Regina Torné) estava cortando cebolas.

Logo logo depois seu pai morre de um ataque cardíaco fulminante, por ter sua criação questionada.

Com isso Tita é mártir de uma tradição lugar, que diga que a filha mas novidade não deve se matrimoniar com finalidade de cuide da mãe até sua morte.

Ao medrar Tita se apaixona por Pedro Muzquiz (Marco Leonardi), que quer se matrimoniar com ela. Sua mãe veta o matrimônio, devido à tradição, e sugere que este se case com Rosaura (Yareli Arizmendi), a mana um par de anos mas velha de Tita.

Pedro aceita, porque unicamente deste modo poderá estar perto de Tita.

11. Ratatouille (2007)

Remy (Patton Oswalt) é um rato que sonha se tornar um extensa chef. Só que sua família é contra a idéia, além do fato de que, por ser um rato, este continuamente é excluído das cozinhas que visitante.

Um dia, enquanto estava nos esgotos, este para muito embaixo do popular restaurante de seu herói culinário, Auguste Gusteau (Brad Garrett).

Este decide visitar a cozinha do lugar e lá conhece Linguini (Lou Romano), um atrapalhado ajudante que não sabe cozinhar e precisa sustentar o serviço a qualquer dispêndio.

Remy e Linguini realizam uma parceria, quando Remy resta escondido sob o chapéu de Linguini e aponta o que este deve fazer ao cozinhar.

12. A 100 Passos de um Sonho (2012)

No sul da França, Madame Mallory (Helen Mirren) é uma respeitada e autoritária dona de um restaurante brilhante no popular guia Michelin que está qualquer vez mas preocupada com um estabelecimento indiano, concorrente, que abriu do outro lado da rua do seu empreendimento.

Ela trava uma autêntica guerra contra o vizinho, porém pouco a pouco conhece o rebento do seu contendor, Hassan Kadam (Manish Dayal), um moleque com verdadeiro talento para a culinária.

Os 2 tornam-se amigos, e Mallory passa a guiá-lo pelos conhecimentos da refinada gastronomia francesa, sem ceder a tradição indiana, encorajando-o a edificar voos bastante mas altos.

13. Delicatessen (1991)

Num planeta pós-apocalíptico quando a comida é a principal moeda de troca, Louison (Dominique Pinon), um ex--palhaço, arranja um trabalho no prédio que abriga o talho Delicatessen.

Aninhado na pensão do andejar superior, o novo criado conclui se envolvendo com a violoncelista Julie (Marie-Laure Dougnac), filha do sevo carniceiro Clapet (Jean-Claude Dreyfus).

Atormentado, o rapaz precisa evadir do pai inquieto e dos demais moradores do prédio, que têm planos macabros para sua mesocarpo.

14. The Lunchbox (2013)

O Mumbai Dabbawallahs é um serviço de entrega de comida bastante sabido em Mumbai, na Índia.

Um dia, um erro na entrega faz com que uma pacata dona de vivenda conheça um varão que está na período final de sua vida.

Juntos eles criam um planeta de fantasia desde mensagens trocadas através das embalagens usadas pelo Mumbai Dabbawallahs.

15. O Sushi dos Sonhos de Jiro (2012)

Jiro Ono, 85 anos, é um técnico em sushi que trabalha incansavelmente no seu restaurante, Sukiyabashi Jiro.

Yoshikazu, fruto de Jiro, enfrenta o duelo de responsabilizar o comando do afamado, minúsculo e caríssimo estabelecimento e deixa o pai de forma livre para destinar-se ao seu objetivo para toda a vida: fabricar o sushi perfeito.

Então, você já assistiu muitos deste filmes?

Comente e vamos trocar ideias sobre isto.

Um abraço!

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