Latest news with #Heirloom
Yahoo
14-06-2025
- Entertainment
- Yahoo
Sentient Acorns, Badass Grandmas and Underwater Knights Feature Among MIFA's 2025 Feature Pitches
Annecy Animation Festival is filled with unmissable events, ranging from global premieres to niche boutique screenings. Near or at the top of that list are the MIFA Pitches, showcasing what indie directors and producers from all over the world have planned for the future of animation. An event carefully monitored by nearly every Annecy attendee, the sessions have more often than not proven to be the birthplace of true animated gems. More from Variety Key Latin America Animation Titles to Come Under the Spotlight at Annecy-MIFA's La Liga Focus 'Edmond and Lucy' Returns With Season 2 From MIAM! Animation: Feature Adaptation in Development Netflix Shares 'Stranger Things: Tales From '85,' 'In Your Dreams' First Looks in Annecy Initially split into four categories—feature Films, Short Films, TV Series & Specials, and Immersive Experiences—MIFA's 40th birthday also celebrates the addition of a fifth category dedicated to animated documentaries. In the Feature Films category, twelve film projects were selected this year at MIFA from no less than 201 candidates. Pitching at MIFA, where teams have ten minutes to dazzle potential partners, distributors, investors, sales agents and broadcasters alike, can prove tremendously valuable for such projects. Michel Ocelot's 1998 groundbreaking feature 'Kirikou and the Sorceress' was pitched at MIFA in 1991, while 'Heirloom,' an Indian feature presented last year in the same event, is now part of the Work-in-progress session, backed by a German co-producer. Last but not least, a Latvian cat created by indie director turned Oscar-winner Gints Zilbalodis was presented at the MIFA pitches back in 2021. Four years later, 'Flow' wrote a new chapter in European animation history. Here are our picks for five projects that stood out from this year's selection. What if children's animation was crafted by the children themselves? This idea drove director Filip Mašek to create 'Acorn's Adventure,' a smashingly beautiful CG project with forest characters designed by the daring imaginations of nature-loving children. Quido, a boy made of acorns, appears in Resinland, a village hidden deep in the forest where everyone seems to have a predefined purpose except for him. Suddenly, the village 's vital resource, resin, comes under attack from an unknown ring of thieves. So, Quido declares himself the hero and sets off on an epic mission to save the village along with daredevil race-driver wannabe Mary. Quirky characters such as posh champagne-cork Mayor or chestnut odd-looking villagers populate the luscious project, which has been built so far under the careful scrutiny of — you guessed it — children. 'This story is about acceptance and finding who you are', explained Mašek. As a teenager and Boy Scout leader, he was always amazed to see what stories children could create with twigs and acorns. Bringing this story to life with the same elements and the same energy resonated with him as well as Annecy's audience. Using Unreal Engine and Blender technology mixed with cutting-edge photogrammetry and motion-capture, the Czech-German co-production brings a teaser to Annecy, along with a second draft of the script. The project is looking for co-producers, broadcasters, investors and sales opportunities. Co-producer Kristina Husová concluded that their main goal was to foster this creativity and imagination. 'Our main wish is that children will run from the screening straight to the forest and use their limitless imagination to create their own 'Acorn's Adventures.' Annie/Emmy-nominated Shofela Coker ('Kizazi Moto: Moremi') and Nadia Darries ('Star Wars Visions: Aau's Song') dazzled Annecy's audience of professionals with 'Mami Wata,' a South-African 2D-CG hybrid animated feature film bringing forth the West African folk tale of Mami Wata. When the ancient water goddess threatens her town, Roukia, a silenced musician, must reclaim her voice to break a generational curse and save herself and her family. Describing their project as a 'thriller and a classic monster tale with a love story at its heart,' directors Coker and Darries blend their experience working in high-end environments with Nigerian and Southwestern African visual style to create what promises to be a gripping feature. Music, a key element within their project, will take the viewers from afro-beats to traditional Nigerian music, from afro-funk to modern dance. As a musical storyteller, Roukia focuses on the healing capacity of music and dance. 'Crocodile Dance' is currently in development and comes to Annecy looking for gap financing, co-producers, sales and distribution. Impressive character design and powerful animatics show true expertise of the directors' duo backed by South African Lucan Studio and Nigerian Coker Coop. Concluding their pitch, directors Coker and Darries emphasized Roukia's path to understanding her fear will be key in this narrative. 'Rather than slay the dragon with sword, fear and might, one might instead move like water and learn to dance with it, for fear does not trouble the sea.' Belgian veteran production company Vivi Film ('Les Triplettes de Belleville,' 'The Secret of Kells,' 'Titina') and Brussels-based Studio Souza presented 'Dreamwalker.' The project, which had already been showcased at Cartoon Movie, Europe's biggest co-production forum for animated films, follows Lucy, a lively 11-year-old girl who loves skating, water ballet and hanging out with her best friends. Everything changes when she starts suffering from a rare sleep disorder called narcolepsy. To prevent accidents from happening, her parents become very protective, limiting her freedom. As her condition turns even the simplest of everyday actions into a painful challenge, she starts to grow apart from her friends while trying to figure out who the mysterious nameless boy is who keeps appearing to her in her dreams. The teams' expertise shines in this lush 2d animated project, of which Director Rudi Mertens and producer Veerle Appelmans unveiled a teaser and dashing animation tests. In this heartfelt story about friendship, Lucy will learn to embrace her condition and find new meaning. With a finalized script, rough pre-boards, beautiful character designs and striking backgrounds, the production has already received development grants from Flanders Audiovisual Fund. Again relying on their teams' solid knowledge of the European animation landscape, Vivi Film has detailed plans to share for a 3-country co-production scheme and is looking for partners, international sales agents and distributors. Miyu Productions — which boasts two films in Annecy's feature competition this year, 'Death Does Not Exist' and 'Dandelion's Odyssey' — returns to MIFA pitches with Simon Rouby's second feature. Nine years after his directorial debut film 'Adama' won two prizes at Annecy, Rouby presented, with producer and long-time friend Emmanuel-Alain Raynal, a CG project aimed at family audiences, which Rouby described as 'Red Riding Hood in the Himalayas.' An idea that has followed him since he had to retell his own version of the known folk tale as part of his Gobelins/CalArts training, Rouby was lucky enough to accompany a geological expedition in the famed mountain range. 'Where I would just see rocks, those geologists saw a story,' explained Rouby, recalling a trip that allowed him to infuse his story with realism, capturing the essence of those rocky landscapes and remote villages. 'Pangea' tells the story of Chesa, a young girl who can predict earthquakes. After one of them weakens her village, she leaves to seek help from her grandmother, who lives as a hermit in the mountains. As she searches for the origins of her power, Chesa discovers that the earth is shaking because of the Dark Teeth, a landless people who feed on anthracite. Driven by their ever-increasing hunger, they dig into the earth and accelerate continental drift, threatening the world Chesa and her grandmother are striving to protect. Rouby's and Miyu's expertise combine in what appears as a solid project, with impressive visuals and a striking teaser that ravished Annecy's audience. The project, already backed up by the CNC and several regional funds for its development, is looking for additional partners. 'The Sunken Knight' opened the day's second pitching session with an animated bang. In a medieval village where children are forbidden to go near the sea, 10-year-old Anna forms an unlikely duo with her whimsical, mysterious grandmother. Together, they venture deep under the ocean to retrieve Anna's no-good younger brother Malo, kidnapped by the terrible Sunken Knight. Along the way, the duo will uncover the secrets of the lost city of Ys, a mysteriously submerged town somehow connected to Anna's past. Visual artist and comic book author Sébastien Cosset helms this promising French project backed by L'Incroyable Studio ('Bergères Guerrières,' 'Draw for Change'). A feature that can also count on talents such as acclaimed French screenwriter Fabien Velhmann, artistic duo Kerascoët ('Tobie Lolness') and both cute and funny animatics created by Oscar-nominated director Benjamin Renner, who also storyboards the project. An adventure-filled project with a strong visual identity and dazzling concept art, 'The Sunken Knight' amazed Annecy's audience with its distinct palette and lovable characters. The duo of Anna and her grandmother forms a perfect balance between the old woman's quirkiness and the young girl's down-to-earth approach. In bringing the viewers into the depths of the Atlantic Ocean, the team also manages to underline how important it is to preserve marine life today. A definite highlight of this year's roundup, 'The Sunken Knight' already has a full treatment and is looking for co-producers, distributors and broadcasters to board this one-of-a-kind project. Selecting five projects from the twelve features proved extremely difficult, as each had its own specific identity. All the films' primary information remains available on Annecy's website, and we encourage investors, broadcasters, and producers to dive deeper into this year's powerful line-up. Best of Variety New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar
Yahoo
06-06-2025
- Business
- Yahoo
How One Climate Tech Company Is Hanging On in the Trump Era
TRACY, California — The bloodbath that Republicans are making of federal incentives for climate projects has stopped — for now — at the border of House Speaker Mike Johnson's district. That's where Heirloom Carbon is planning to build its first commercial-scale plant capable of extracting carbon dioxide from the air, by way of shallow trays of crushed limestone that absorb the planet-warming gas. The project was on the Trump administration's draft "kill list" of federally funded climate tech projects, as my colleagues reported in March. But it wasn't on the final list that came out last week. Another win in progress: While last week's House-passed megabill would gut the Inflation Reduction Act's tax credits for renewables and nuclear power by tightening their construction deadlines to near-impossibilities, it leaves the IRA's credits for carbon capture largely intact, other than cutting the credits' transferability to third parties. Carbon capture has plenty of enemies on the left, where it's often viewed as a nascent, expensive distraction from reducing emissions in the near term. But it's the right that wields influence over the huge pots of money that are the Biden administration's biggest climate legacy — and as Republicans prepare to decimate incentives for renewable resources like solar, wind and geothermal energy, carbon capture has managed to weather the storm better than many other climate technologies. Heirloom is as savvy an operator as any, having announced its Louisiana facility in 2023 in conjunction with Climeworks and Battelle on the back of an initial $50 million award from the bipartisan infrastructure law. The company is pursuing a two-pronged policy strategy: It's trying to win over the right with the promise of jobs and heavy industry in their districts, and the left with the additional promise of a way to tackle climate change — with caveats about it not being a substitute for other emissions reductions. To that end, it takes pains to make a key distinction between "carbon capture" — which includes technologies that filter CO2 from industrial sources — and "carbon removal" like Heirloom's, which draws existing carbon out of the atmosphere. "By building in California, you get the door knocks from the Microsofts of the world," Vikrum Aiyer, the company's head of global public policy, told me on a tour last month of its first plant, on the agricultural eastern outskirts of the Bay Area, over the hum of a kiln that heats up the limestone to extract the captured CO2. "By building in Louisiana, we get more companies interested in 'How do I use this CO2 for other things?'" Choosing Louisiana was a prescient bet. Republican Gov. Jeff Landry's administration pleaded the project's case after it ended up on the Energy Department's preliminary hit list. "I urge you to contact DOE Secretary Chris Wright and ask him to take every necessary step to advance this critically needed federal grant,' Louisiana Economic Development Secretary Susan Bonnett Bourgeois wrote to the state's congressional delegation. Local port commissioners and business groups chimed in, too; an April letter touted the project's ability to "generate demand for American-made steel, concrete, and advanced equipment, revitalizing our industrial heartland." It probably also helped that Heirloom was a relative old-timer, getting its funding award in August 2023; two-thirds of the projects on the kill list received final approval after the November election. But either way, avoiding being on the list was a significant victory, given how much work remains to get the technologies to economic viability. "For those earlier-stage startups who are not backed by a large corporation or multinational, I think you could see this as absolutely devastating," said Jessie Stolark, executive director of the Carbon Capture Coalition, a trade group. The Senate is currently working through the megabill, but the House version's 2033 deadline to start construction works for Heirloom, which is banking on the preservation of the existing $180-per-ton tax credit to remove CO2 as well as permanently store it (in concrete, at its plant in California, and in an underground well, in Louisiana). Another $130-per-ton credit, for using the carbon, would help it capitalize on its recently announced deal with United Airlines to incorporate it into jet fuel. That would all go a decent way to helping the company get beyond the initial corporate buyers — Microsoft, Meta, McKinsey and JP Morgan among them — willing to shell out the roughly $600 per ton that direct-air capture currently costs. (It needs to get down to about $100 per ton to make it attractive to companies that have to reduce their emissions under government climate programs in California and the European Union, for example.) Heirloom's strategy on the left, meanwhile, involves trying to cobble together more funding for research and development to get the cost down further while allaying environmental groups' concerns that the technology will enable industrial emitters to keep polluting. Heirloom is hoping to leverage California's carbon-trading program, which generates billions in proceeds from the sale of emissions permits to industry. It's backing an "advanced climate technology" fund for industrial decarbonization technologies, pegged to the state's 2022 climate roadmap that envisions carbon removal contributing to 15 percent of the state's goal to get to net-zero emissions by 2045. To that end, the company is trying to win over wary opponents who argue that any climate dollars should go toward nearer-term reductions. "Could that someday be a realistic part of the solution?" former Vice President Al Gore, one of the most powerful climate voices on the left, said of carbon capture in a speech in April in San Francisco. "Perhaps. But not now. Not even close." Carbon capture is 'probably the most expensive and the least reliable thing that we could possibly be doing right now," Katie Valenzuela, a consultant for environmental justice groups, said on a panel at a Sacramento climate conference in April. "I recognize I'm not coming into this room as a very popular dude," Aiyer responded. "We have to earn your trust. I get that." But they're having some success there, too. California lawmakers this week advanced a bill to require the state to purchase $50 million in carbon removal credits between 2026 and 2035. Another bill would lift California's moratorium on carbon dioxide pipelines, which Heirloom would need if it scales up enough to move large volumes to storage wells or other sites. "There's a huge opportunity here," said Assemblymember Cottie Petrie-Norris, its author, who joined last month's tour of the Tracy facility. For now, much of Heirloom's fate is in the hands of the Senate, where their industry-friendly pitch to the right might allow them to slip through the Trump administration's net once again. And as other emissions-cutting efforts fall to Republicans' machete, time is on their side. "By 2050, we need to start taking down six to 10 billion tons of carbon dioxide every year for the rest of the century,' Aiyer said, 'if we stand any chance of realizing either the temperature goals or the Paris Accords." Carbon capture might not be a favorite among progressives yet, but with the Trump administration's gutting of other climate projects, companies like Heirloom may be some of the only ones left.
Politico
06-06-2025
- Business
- Politico
How One Climate Tech Company Is Hanging On in the Trump Era
TRACY, California — The bloodbath that Republicans are making of federal incentives for climate projects has stopped — for now — at the border of House Speaker Mike Johnson's district. That's where Heirloom Carbon is planning to build its first commercial-scale plant capable of extracting carbon dioxide from the air, by way of shallow trays of crushed limestone that absorb the planet-warming gas. The project was on the Trump administration's draft 'kill list' of federally funded climate tech projects, as my colleagues reported in March. But it wasn't on the final list that came out last week. Another win in progress: While last week's House-passed megabill would gut the Inflation Reduction Act's tax credits for renewables and nuclear power by tightening their construction deadlines to near-impossibilities, it leaves the IRA's credits for carbon capture largely intact, other than cutting the credits' transferability to third parties. Carbon capture has plenty of enemies on the left, where it's often viewed as a nascent, expensive distraction from reducing emissions in the near term. But it's the right that wields influence over the huge pots of money that are the Biden administration's biggest climate legacy — and as Republicans prepare to decimate incentives for renewable resources like solar, wind and geothermal energy, carbon capture has managed to weather the storm better than many other climate technologies. Heirloom is as savvy an operator as any, having announced its Louisiana facility in 2023 in conjunction with Climeworks and Battelle on the back of an initial $50 million award from the bipartisan infrastructure law. The company is pursuing a two-pronged policy strategy: It's trying to win over the right with the promise of jobs and heavy industry in their districts, and the left with the additional promise of a way to tackle climate change — with caveats about it not being a substitute for other emissions reductions. To that end, it takes pains to make a key distinction between 'carbon capture' — which includes technologies that filter CO2 from industrial sources — and 'carbon removal' like Heirloom's, which draws existing carbon out of the atmosphere. 'By building in California, you get the door knocks from the Microsofts of the world,' Vikrum Aiyer, the company's head of global public policy, told me on a tour last month of its first plant, on the agricultural eastern outskirts of the Bay Area, over the hum of a kiln that heats up the limestone to extract the captured CO2. 'By building in Louisiana, we get more companies interested in 'How do I use this CO2 for other things?'' Choosing Louisiana was a prescient bet. Republican Gov. Jeff Landry's administration pleaded the project's case after it ended up on the Energy Department's preliminary hit list. 'I urge you to contact DOE Secretary Chris Wright and ask him to take every necessary step to advance this critically needed federal grant,' Louisiana Economic Development Secretary Susan Bonnett Bourgeois wrote to the state's congressional delegation. Local port commissioners and business groups chimed in, too; an April letter touted the project's ability to 'generate demand for American-made steel, concrete, and advanced equipment, revitalizing our industrial heartland.' It probably also helped that Heirloom was a relative old-timer, getting its funding award in August 2023; two-thirds of the projects on the kill list received final approval after the November election. But either way, avoiding being on the list was a significant victory, given how much work remains to get the technologies to economic viability. 'For those earlier-stage startups who are not backed by a large corporation or multinational, I think you could see this as absolutely devastating,' said Jessie Stolark, executive director of the Carbon Capture Coalition, a trade group. The Senate is currently working through the megabill, but the House version's 2033 deadline to start construction works for Heirloom, which is banking on the preservation of the existing $180-per-ton tax credit to remove CO2 as well as permanently store it (in concrete, at its plant in California, and in an underground well, in Louisiana). Another $130-per-ton credit, for using the carbon, would help it capitalize on its recently announced deal with United Airlines to incorporate it into jet fuel. That would all go a decent way to helping the company get beyond the initial corporate buyers — Microsoft, Meta, McKinsey and JP Morgan among them — willing to shell out the roughly $600 per ton that direct-air capture currently costs. (It needs to get down to about $100 per ton to make it attractive to companies that have to reduce their emissions under government climate programs in California and the European Union, for example.) Heirloom's strategy on the left, meanwhile, involves trying to cobble together more funding for research and development to get the cost down further while allaying environmental groups' concerns that the technology will enable industrial emitters to keep polluting. Heirloom is hoping to leverage California's carbon-trading program, which generates billions in proceeds from the sale of emissions permits to industry. It's backing an 'advanced climate technology' fund for industrial decarbonization technologies, pegged to the state's 2022 climate roadmap that envisions carbon removal contributing to 15 percent of the state's goal to get to net-zero emissions by 2045. To that end, the company is trying to win over wary opponents who argue that any climate dollars should go toward nearer-term reductions. 'Could that someday be a realistic part of the solution?' former Vice President Al Gore, one of the most powerful climate voices on the left, said of carbon capture in a speech in April in San Francisco. 'Perhaps. But not now. Not even close.' Carbon capture is 'probably the most expensive and the least reliable thing that we could possibly be doing right now,' Katie Valenzuela, a consultant for environmental justice groups, said on a panel at a Sacramento climate conference in April. 'I recognize I'm not coming into this room as a very popular dude,' Aiyer responded. 'We have to earn your trust. I get that.' But they're having some success there, too. California lawmakers this week advanced a bill to require the state to purchase $50 million in carbon removal credits between 2026 and 2035. Another bill would lift California's moratorium on carbon dioxide pipelines, which Heirloom would need if it scales up enough to move large volumes to storage wells or other sites. 'There's a huge opportunity here,' said Assemblymember Cottie Petrie-Norris, its author, who joined last month's tour of the Tracy facility. For now, much of Heirloom's fate is in the hands of the Senate, where their industry-friendly pitch to the right might allow them to slip through the Trump administration's net once again. And as other emissions-cutting efforts fall to Republicans' machete, time is on their side. 'By 2050, we need to start taking down six to 10 billion tons of carbon dioxide every year for the rest of the century,' Aiyer said, 'if we stand any chance of realizing either the temperature goals or the Paris Accords.' Carbon capture might not be a favorite among progressives yet, but with the Trump administration's gutting of other climate projects, companies like Heirloom may be some of the only ones left.
IOL News
02-06-2025
- IOL News
'I felt like one of those 'Real Housewives of Cape Town' being lavishly fed by a private chef'
Bar area at Heirloom restaurant. Image: Bernelee Vollmer Do you want a dining experience that feels like a gentle brush with luxury and elegance, without it being intimidating? I have found the perfect spot for you in Cape Town. Now hear me out. Yes, it may be in the exclusive, wonderful and newly re-opened and revamped Cape Grace Hotel, yet the elegant restaurant in the hotel - Heirloom - while indeed a classy spot, is not a stiff-upper-lip type of place It is more 'put on your favourite silk dress' rather than 'borrow your aunt's inherited pearls". The name Heirloom, when you look up the meaning, means a valuable object that has belonged to a family for several generations, like those pearls you chose not to wear. So expect a slight sense of "Old Money", a bit of "The Gatsby" and all-glamour, but also a place where you can enjoy a five-course meal with relish, which is exactly what I did when I was invited to attend recently. From the moment you step in, the vibe strikes you: it is a sophisticated modern cruise with dark woods, deep tones and soft lighting that balances moodiness with class. There are stunning views it being on the west quay of the V&A Waterfront: think the more quieter side of the docks, yachts, sea... but once the food arrives, you will probably forget the views because the art of the food will be all you can focus on. The standout centre bar, surrounded by sleek glass and pockets of greenery, brings a brightness and modern edge that lifts the whole atmosphere. It's intimate, stylish and perfect for the kind of night where you want to treat yourself (and maybe someone special too). Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Advertisement Video Player is loading. Play Video Play Unmute Current Time 0:00 / Duration -:- Loaded : 0% Stream Type LIVE Seek to live, currently behind live LIVE Remaining Time - 0:00 This is a modal window. Beginning of dialog window. Escape will cancel and close the window. Text Color White Black Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Background Color Black White Red Green Blue Yellow Magenta Cyan Transparency Opaque Semi-Transparent Transparent Window Color Black White Red Green Blue Yellow Magenta Cyan Transparency Transparent Semi-Transparent Opaque Font Size 50% 75% 100% 125% 150% 175% 200% 300% 400% Text Edge Style None Raised Depressed Uniform Dropshadow Font Family Proportional Sans-Serif Monospace Sans-Serif Proportional Serif Monospace Serif Casual Script Small Caps Reset restore all settings to the default values Done Close Modal Dialog End of dialog window. Next Stay Close ✕ The elegant yet approachable Heirloom restaurant. Image: Bernelee Vollmer Each course was introduced with a smile and a story, adding just the right amount of theatre to the evening. It had that good old-school charm, where hospitality wasn't about flair but about making you feel looked after. Now, this wasn't your classic candlelit date night. It was before our wedding - a time of lists, budgets and final fittings but this evening became something unexpectedly meaningful. We were seated with other reviewers, which could've been awkward, but ended up being one of the highlights. The conversations flowed as easily as the wine, and before long, strangers became warm tablemates who were sharing marriage advice and baby wishes (my baby is due in a few weeks). They toasted our upcoming wedding, spoke about parenting with a wink, and it felt like a small celebration with kind strangers. The invite from the hotel came at just the right time. We were reaching the final stages of our simple wedding planning, and this felt like a chance to breathe, to enjoy. My partner and I, now my husband, are mostly home-cooked meals type of people who dabble in restaurants during the holiday season or the odd date night, so this experience felt special. The menu was playful and thoughtful, a feast for the eyes with all the colour I crave on a plate because yes, honey, I eat with my eyes first. Each course delivered flavours as bold and vibrant as they looked, and my baby was dancing in my belly. While I had to pass on the wine pairings (tragic, I know), I can still confidently say that the food alone made this experience worth every forkful. And look, I'm not exactly adventurous when it comes to food. I like what I like. But this menu gently nudged me out of my comfort zone, and it was an absolute treat to explore flavour without fear. Tuna, served on toasted brioche with roasted black garlic aioli, apple jelly, and crispy apple sticks. Image: Bernelee Vollmer Each dish was created in reverse, starting with a limited-release or vintage Waterford wine and crafting the meal to match. That's where the magic happens. 'Our approach allows us to create a harmonious experience,' says sommelier Alvezo Abrahams. 'By letting the wines guide the dishes, guests can appreciate how each wine influences the flavours of the ingredients. It becomes more than just a meal; it is about the story conveyed through taste." The evening opened with the Blanc de Blanc Cap Classique 2018 paired with tuna, served on toasted brioche with roasted black garlic aioli, apple jelly, and crispy apple sticks. Now, I might not have sipped the wine, but I could still appreciate the balance in this dish. That caviar-textured apple jelly? I felt like a "Real Housewife" being fed by a private chef - it was elegant, playful and unique. This was the first time I had anything remotely close to caviar, and it was apple jelly? How insane. I don't regret trying new things. Pork belly glazed in white wine orange beurre blanc. Image: Bernelee Vollmer Then came the Elgin Sauvignon Blanc 2024 with rainbow trout, pepper salsa, avo purée, and a garlic crumble. Light, fresh, and full of layers. It was the kind of dish that made me wonder why I don't eat more trout. Probably because it's rarely done this well. The third course is a personal favourite: the Chardonnay 2015 with pork belly glazed in white wine, orange beurre blanc. Now listen, pork belly is my weakness. Crispy on the outside, melt-in-the-mouth inside, and that citrusy note from the beurre blanc sealed the deal. I don't know what it is, but pork and fruit just work – if you know how to do it right. Beef tongue, fillet, salted candied tomatoes, and cauliflower purée on a potato fondant with a rich jus. Image: Bernelee Vollmer Then came the heavyweight: a beef course paired with a choice between the Jem 2017 Red Blend or the Kevin Arnold Shiraz 2016. The dish included beef tongue, fillet, salted candied tomatoes and cauliflower purée on a potato fondant with a rich jus. Now, this plate was generous, no lie. But once I took that first bite, there was no turning back. The meat was tender, the sides were refined yet comforting, and it felt like Sunday roast had gone to culinary school. And just when I thought I was done, dessert arrived like a gentle hug. Poached pear, chocolate sorbet, and pistachio mousse. Image: Bernelee Vollmer The Heatherleigh NV Dessert Wine was served with poached pear, chocolate sorbet, and pistachio mousse. Light yet indulgent, and the perfect sweet ending to such a well-paced meal. The Heirloom x Waterford pairing is a beautifully considered experience. The ingredients are locally sourced and seasonal, the wines are rare, and the setting is made for memories. This is for people who appreciate slow dining, romantic moments and storytelling through food, whether you're a well-heeled wine lover, a couple celebrating something special, or just two tired parents looking to feel fancy for a night. It's beautifully curated, warm without being fussy, and ideal for stepping outside your usual dining comfort zone – even if you're pregnant and skipping the wine! The Waterford wine pairing dinners are a splurge, yes, but for a five-course experience and warm hospitality, it's the kind that feels worth it. Think celebration, not casual tequila Tuesday. Prices range from R230 to R800 depending on what you're indulging in, from appetisers to desserts. And for the five-course wine pairing, you will need R1 950. It's a splurge, yes, but one that doesn't feel over the top. Just right for when you want to feel a little bit posh. * Renowned Wesli Jacobs is the new chef at Heirloom. RATING BERNELEE GIVES HEIRLOOM A ★★★★ This is a five-course journey worth taking, especially if you love attention to detail and food that tells a story. Overall 4. ★★★★ (Very good) Food: Delicious, well-prepared with some standout dishes. Service: Attentive, friendly and professional. Ambiance: Pleasant, well-designed and comfortable. Value: Worth the price; good quality for cost.
Time Out
31-05-2025
- Entertainment
- Time Out
A Fresh Take: Executive Chef Wesli Jacobs joins Cape Grace
If Netflix's The Bear offers any insight into the high-stakes world of hospitality, it's that a head chef sets the tone for the entire kitchen. At Cape Town's Cape Grace Hotel - recognised as one of the city's best by Time Out - a new chapter begins under Executive Chef Wesli Jacobs, who brings a fresh vision to its five-star dining experience. We were introduced to Chef Jacob's culinary creativity during a lunch hosted in Heirloom's private dining room alongside celebrated former World's Best sommelier, Philippe Faure-Brac. Jacobs rose to the challenge, plating a menu set to stand beside wines open to critique by Faure-Brac (no pressure). Faure-Brac, whose attendance was a masterstroke - aligned perfectly with the hosting of the ASI General Assembly in Cape Town for the first time in its 55-year run, a landmark for the African continent as a whole. The collaboration of this Fairmont property, under Accor's ownership, has led to significant refurbishments and enhancements at the Cape Grace, including the introduction of Heirloom Restaurant - first, under the leadership of acclaimed chef Gregory Czarnecki in 2023. Chef Asher Abramowitz later took over the reins in 2024, bringing added focus to South Africa's rich culinary heritage. Now, Jacobs and his team, including sommelier Alvezo Abrahams, showcased exactly what guests can expect in the months ahead. Think elegant dishes rooted in South African traditions of Cape Malay cooking with touches of finesse. Fine examples include the Seafood Biryani (paired with a Cape Point Reserve Sauvignon Blanc) and the Springbok Potjie (paired with Beyerskloof Reserve). Other splashes of contemporary flair included a Fynbos Sorbet palette cleanser and Baked Alaska, "not done Ouma's way" - best described as a smile-inducing dish, even before tasting it. Jacobs, formerly of Four Seasons Westcliff, where he led the award-winning pass at Flames, tells us that while he might be looking to break the mould in some instances, he and his team are pushing to put it back together in a totally unique way. Cooking from the heart and memory as odes to aunties or grannies are no longer platitudes when you consider the selection Jacobs shared. And it's not just Heirloom that are under his care - with Bascule Bar and the Library Lounge as part of his culinary canvas. The lunch menu certainly has set sizzling aspirations for the season ahead. The Cape Grace is inviting guests to join them for an adventurous pairing of chardonnays at the end of June, featuring Atlas Swift - just ahead of their new winter menu launch in July. Advanced booking is advised.
