Latest news with #Julieta
San Francisco Chronicle
05-05-2025
- Entertainment
- San Francisco Chronicle
8 films that feed the soul
Dear Mick LaSalle: Are there any recent films that feed the soul? Alan Takeda, San Francisco Dear Alan Takeda: By 'feed the soul,' I'll assume you mean movies that leave you feeling expanded, enlightened and maybe changed for the better. Even most great movies don't do that, so these are films in a special category. Such films are always rare, but they never quite disappear no matter what's going on, because they tend to be personal works that exist outside of trends and tap into something timeless in the human experience. Here are eight from the last decade: 'Julieta,' 'Truman,' 'Goodbye Christopher Robin,' 'The Quiet Girl,' 'Petite Maman,' 'Nyad,' 'My Old Ass' and 'Daddio.' This is an eclectic list representing Spain, Britain, Ireland, France and the United States. On the flipside, there are movies that devour the soul. In our time, these are sci-fi movies, post-apocalyptic movies and superhero movies that routinely depict American cities being trashed. They leave you feeling discombobulated and agitated, states that might pass for excitement but it's not real excitement. It's more like giddy, unfeeling dread. Hi Mick: What movie wasn't nominated for the recent Oscars that should have been nominated? Anne Spencer, San Francisco Hi Anne: Nicolas Cage should have been nominated for ' Dream Scenario ' (2023), a funny social satire in which Cage, playing an under-appreciated scholar, starts showing up in people's dreams. It's a skillful comic-dramatic performance of a kind that invariably gets ignored, probably because Cage's Academy colleagues can't categorize it. Perhaps they need to undervalue it, because they know they can't do it themselves. Dear Mick LaSalle: Thrilled that you mentioned "The Letter' with Bette Davis. Lots of people might see this film now, since you cite it. Yay! Davis is marvelous, of course. Lucy Johns, San Francisco Hi Lucy Johns: Uh-oh. You're so enthusiastic that I hesitate to break the news, but I wasn't referring to the Bette Davis 'The Letter' from 1940. I was referring to the Jeanne Eagels 'The Letter' from 1929. That's the talkie from the 1920s that I've watched the most often. But don't be disappointed; think of this as a blessing in disguise: There's another version of this story that's even better than the one you know, which I agree is very good. Eagels gives one of the most fascinating performances I've ever seen in this film — she looks like she's having a nervous breakdown live, on camera. And maybe she was. She was a heroin addict and died seven months after the movie's release. Dear Mick: When I was a medical resident at UCSF, I would attend musical performances with Chronicle music critic, Heuwell Tircuit. I suspect you must have known Turk, as he was called by his friends. I miss him and his wit. Robert L. Owen, San Francisco Dear Robert: I'm sure there was a good side to Heuwell Tircuit (1931-2010), and I'm glad you got to see it. I knew him only as the rather snooty colleague that embarrassed our department in 1987 by panning a performance by the San Francisco Ballet that he hadn't even seen! The one good part of the story is that after he was fired, the Chronicle made one of its best hires — Joshua Kosman — to replace him. A real case of the Italian proverb, 'When God closes the door, he opens up a window.' It's reassuring to have your testimony that at least Heuwell attended some of the performances he reviewed. But even more, I appreciate the chance to tell you how critics feel about this sort of behavior. We don't think of it as a guy getting away with something. We look at it as a breach of faith with the public and a betrayal of the artform.
Time Out
24-04-2025
- Entertainment
- Time Out
Who are the new faces of Mendoza's gastronomy
Mendoza's gastronomy is undergoing significant changes, largely driven by "under-30" chefs who embrace creativity, sustainability, and local identity. This generation of chefs, grounded in culinary traditions, also adopts modern techniques and regional products, transforming Mendoza's cuisine into a benchmark of creativity and innovation. Their approach not only aims to delight those who taste their dishes but also contributes to the development of local culture, connecting cooking with respect for the environment and Argentine traditions. Julieta Cuky, chef at the Savia restaurant in Bodega Casarena, sees cooking as a process of exploration and creation, blending traditional recipes with more playful proposals. Her cuisine aims to be accessible to all audiences, without compromising on the quality and flavor of the products she uses. By combining modern techniques with traditional recipes, she starts with familiar flavors and then offers them a fresh perspective, always with the goal of surprising the diner. Julieta constantly seeks balance with the contemporary, adding, "My cooking is fun because of the play of flavors and the experience we create. The dynamic of the menu also plays a key role. For example, the Chef's Caprices are a very dynamic instance: they are snacks we change every day, playing with what our garden gives us and our creativity. Sometimes we even invite people to eat with their hands to break the protocol a little." In this sense, experimentation is not just a tool but a philosophy that runs through her creative process. She believes that everything starts in the field, where the producer, with effort and dedication, creates quality products that chefs then transform into dishes. This interaction is "a cycle of mutual respect, where the intervention in the kitchen should be careful and respectful of all the prior work. If there is care throughout this cycle, it will be reflected in the dish," she says, emphasizing the idea. She also observes that in Mendoza, there is "a united gastronomic community," where chefs support each other, valuing collaboration and teamwork as drivers of growth. "In Mendoza, there is a united gastronomic community" Enzo González Petra, chef at Sitio La Estocada, defines his cuisine as "a celebration of the product, where the quality of the ingredients is the priority. It focuses on highlighting the natural flavors of the ingredients with minimal intervention. Gastronomy should respect and enhance the essence of each product," he tells Time Out Mendoza. 80% of the ingredients used in his dishes come from his own garden, which follows biodynamic farming practices. Enzo focuses on what his farm produces, saying, "I'm motivated to work with fresh, flavorful ingredients." Respect is fundamental in his kitchen, both for what nature provides and for human labor. During the winter months, when the restaurant is closed, he shares, "I'm lucky to work seasonally, and those months when we take a break, I dedicate myself to traveling to research and develop new techniques with my life partner Daniela Ovejero Michelini, sommelier at Sitio La Estocada." For him, technique and creativity are tools to enhance the product's quality, but the priority always remains on what nature offers. "The traditional food of each place arose from the resources available in the region, whether through cultivation, gathering, or animal husbandry. My gastronomy is based on that same principle: working with the products we find in our garden or with producer friends. Today, I don't feel comfortable reinterpreting traditional dishes; I prefer to give value to the resources we have," reflects Enzo. Regarding the new generation of chefs, he notes that there is growing awareness of sustainability and the quality of raw materials. This generation, influenced by a cultural shift after the pandemic, is focused on creating a more responsible, healthy cuisine with its own identity. "My gastronomy is based on working with the products we find in our garden or with producer friends" Aris Pabón, a Colombian chef working in Mendoza at the Flor del Desierto restaurant, defines his cuisine as "a proposal based on technique and product," where the goal is to make the most of each ingredient. He explains, "We produce the bread solely with the intention of dehydrating it and processing it to make the breadcrumbs we use to cover our milanesa." He also emphasizes the importance of constant experimentation in his creative process, where the initial idea of a dish may change depending on mistakes and discoveries that arise during preparation. This flexibility is key to improving and adjusting the proposals ultimately presented to the public. "We are the places we've been and the experiences we've lived. I'm Colombian, and without realizing it, the Flor del Desierto menu has a lot of fruit because it's commonly consumed in my country. Also, when I was a kid, I painted, and in the kitchen, I was able to channel all that creativity," he highlights about how his homeland influences his cooking. "We are the places we've been and the experiences we've lived" Pabón also points out that the new generation of chefs stands out for having access to more information, which allows for rapid growth and a more direct connection with international trends. However, he stresses that personal experience in the kitchen is irreplaceable. For him, values such as respect and awareness are essential for this new generation of chefs. Daniela Espinoza is a young Venezuelan chef who found in Mendoza a territory to create and expand her gastronomic vision. She defines her cooking as "fully experimental." "I'm starting to integrate a more rustic style as an inspiration," she clarifies, noting that this leads her to have new ideas, perfect her skills, and stay alert to the smallest details. Although recently she has incorporated a more rustic style inspired by her trips with friends to the countryside or the mountains, where she prepares dishes with what is available. "I find inspiration in the memories of my childhood in Venezuela or in Asian culture with its ancient techniques and methods of preserving or transforming food," she reveals. "I am also inspired by native products, where I seek to prepare them with techniques from other cultures to see what happens there." For her, the new generation of chefs is distinguished by a philosophical and social identity that goes beyond technique: she dreams of a more equitable gastronomic industry, where tips are a bonus and not a necessity, and where respect and empathy are a reality, not just an ideal. As a chef friend once told her, "Cooking delicious food is the easiest thing, and we all do it. Being a good person, that's not." Based on that premise, Daniela believes that inclusion and diversity are fundamental values in cooking: when you understand the richness that differences bring, everything else flows naturally. "I find inspiration in the memories of my childhood in Venezuela" For Martín Luchetti, currently executive chef at Entre Cielos, cooking is about playing with seasonal ingredients, mixing techniques, and reinterpreting the classics with a personal touch. "I like combining international recipes with local products, like making a Mexican mole with local ingredients or a Tomaticán with a more elegant twist." But beyond the dishes, what's most important to him is the team: if there's no motivated and connected group, the kitchen loses its essence. Fruits, acids, pickles, and crunches are essential in his recipes, while parsley and fresh basil provide the finishing touch. For him, cooking should surprise, but without losing its identity. "Social media is a great source of inspiration today. Seeing creative dishes generates new ideas. Often, I adapt recipes I like to my style. For me, it's key to put my personal stamp on each dish. Creativity should be a source of inspiration, not a copy. Although, often, imitation is seen more than originality, and that can lead to creating a cuisine that adapts too much to what the customer expects, repeating dishes found in many restaurants," he explains. "Social media is a great source of inspiration today" Martín believes that Mendoza is in a great gastronomic moment, and the arrival of the Michelin Guide is proof of this growth. However, for him, the real change lies in the way of working: valuing the team, collaborating with colleagues, and trusting Mendoza's chefs.
Los Angeles Times
05-02-2025
- Entertainment
- Los Angeles Times
Latin Mafia has always trusted its gut. It's finally paying off
The last 12 months have been full of firsts for the De la Rosa brothers, better known as the musical trio Latin Mafia. In April, the Mexico City natives performed for the first time in the United States at the Coachella Valley Music and Arts Festival in Indio. In July, the band signed with Puerto Rican reggaeton label Rimas Entertainment, making Bad Bunny its label mate. In October, the trio released its debut full-length record, 'Todos Los Días Todo El Día.' Now, the brothers are on their inaugural U.S. tour., a 17-stop trek that kicked off Jan. 22 with a sold-out show at the Hollywood Palladium. Before taking the stage at the famed L.A. venue, twin singers Milton and Emilio, who are 22, and producer Mike de la Rosa, 24, found themselves in line at Erewhon's hot bar. As they indulged in the high-end grocer's buffalo cauliflower and perusing L.A.'s boutique shops, they were not nervous at all. Confidence is something that has marked their rise to fame. 'We all had a similar mindset. We had a feeling music was going to work out for us,' said Mike de la Rosa. 'But it still does feel like a dream come true, because you never really know.' The siblings have always bonded over making music, but it wasn't until the COVID-19 pandemic that they decided to take it more seriously. Like many of their adolescent counterparts, they turned to TikTok as a creative outlet. Their earliest videos include behind-the-scenes of their genre-blending process and remixes of popular Latin songs with new lyrics. Their consistent posting resulted in a small following. In turn, their early singles, like the dreamy Latin pop track 'Julieta' and the electronic 'No digas nada,' had a ready-made audience. It wasn't until 'Julietota,' a reggaeton track that builds on the last 30 seconds of 'Julieta, ' that the Latin Mafia's videos began to surpass a million views. With the perreo-driven song, the band members cracked the algorithm. Before long, they were collaborating with fellow Mexican pop singer Humbe on 'Patadas de Ahogado.' The breakout 2023 sentimental ballad has been streamed 200 million times on Spotify, making it Latin Mafia's most popular song to date. With these back-to-back hit releases, the trio began to sell out arenas in Mexico and perform at music festivals in the country — all without a full-length project to its name or record label backup. The brothers' sound, which dabbles in genres like pop, R&B and Latin trap, helped set them apart from other música Mexicana acts. 'I don't think we are always making something different. We live in a time where everything has already been invented,' Milton de la Rosa said of Latin Mafia's influences. 'We're just trying to do something we love in our own way.' They continued to follow these sonic instincts with the making of 'Todos Los Días Todo El Día.' As a turning point for the rising trio, they elevate their sound by turning their early bedroom pop-esque style into a more refined, experimental reflection of themselves. 'I always say when you just listen to music, sometimes it will only be sad,' said Emilio. 'But you can feel it when you can say something, when you can understand it, when you can give a part of yourself to the ones that are listening to you — that's when it becomes real.' Mike credits this ability to a series of 'happy accidents.' Drawing from their collective experiences with anxiety, depression and heartbreak, they say they prioritize raw emotion and trusting their gut feelings in their creative process. During the making of the album, the twins say they would run circles around the studio as Mike played different drums. Chasing each other from one end to the next and leaning into the youthful energy of their early 20s, they recall coming to a halt whenever Mike's drums resonated with them. Huddling around him, the brothers would begin brainstorming what sounds could blend together or what feeling the track was stirring. 'We want to have fun while making music. There's no certain way to make music. We just play around, and if it sounds good, we chase it. There are moments in the studio where all three of us are doing something wrong,' said Milton. 'For some reason, it sometimes ends up sounding good.' The album's opening track, 'Siento que merezco más,' sets the tone. It introduces the brothers' ability to shift gears within a singular track, taking listeners to Mexico City with a distorted sample of the city's street organs, infusing moments of a dejected ballad with an angsty punk feeling and invoking flashes of an electronic garage production. From the piano-backed trap beat on 'Nunca he sido honesto' to the sudden rumbling synth on 'Vivo si me exiges' and the peaceful harmonies on 'Me estoy cayendo,' the record succeeds in following Latin Mafia's unpredictable formula of stark switch-ups and evocative lyricism. Critics immediately embraced 'Todos Los Días Todo El Día,' which appeared on many best of Latin music in 2024 lists. For the De la Rosa brothers, 'Todos Los Días Todo El Día,' is a tribute to the most important people in their lives — their family and friends. Its final track, 'Tengo mucho ruido,' ends with the voice of their elderly grandma. As the echoing synth wanes, she blesses them and wishes them safety. 'We wanted to be able to listen to her voice over and over again,' said Milton. 'Music is made for memories. It's made to freeze moments in time and bring color to these memories. My biggest fear is forgetting, but I know our music will always be here to remind me over and over of all the people I love.' Now, both their grandma and her 'muchachitos tramposos' can find peace in the album's final notes.
