Latest news with #LaOla
Yahoo
30-05-2025
- Entertainment
- Yahoo
Four Seasons Hotel Los Angeles Spices Up the Rooftop With La Ola
Four Seasons Hotel Los Angeles Spices Up the Rooftop With La Ola originally appeared on L.A. Mag. For years, the poolside rooftop on the fourth floor of the Four Seasons Hotel Los Angeles at Beverly Hills housed a breezy lunchtime spot, Cabana — until two years ago, when Matthew Kenney debuted his ephemeral Plant Food + Wine executive chef Jesus Medina (who pioneered the dining concepts at Four Seasons Westlake Village before joining the Beverly Hills team) is injecting some of his personal Mexican heritage into the fourth-flour dining spot with La Ola, a lively new eatery that will be open starting today for lunch, golden hour and dinner daily. La Ola (Spanish for "the wave") is his take on Coastal Mexican — and it comes complete with a vibrant new design in natural textures and beachy tones, alongside new cabanas, umbrellas and chaises."I'm very excited to introduce this concept — Coastal Mexican is deeply in my heart, it's my rich culture, so I can express myself," said Medina at a preview event. "And it's an amazing journey for Four Seasons, as we're [the Four Seasons'] only Mexican concept in the U.S." Guests can enjoy signature guacamole, ceviches, shrimp aguachile, octopus chicharrón and tacos, or opt for heartier entrees like the catch of the day, carne asada and grilled prawns — all served with elegant presentation. Sip house margaritas garnished with sea asparagus, or seasonal paleta cocktails with herbs and mezcal — and mini slushie welcome shots. Desserts include platano macho with a burst of cotja snow and a sweet taco de elote with amarth and blueberries. The fiesta continues all summer with a weekly seafood market-style experience (Mercado Mariscos), tarot and tequila nights, live DJ sets, mariachi performances, ceviche tastings and mixology pop-ups — plus "surprise and delight" moments on weekends, which will include a medley of Mexican treats for poolgoers (Tajín-dusted melons, paletas and Mexican-inspired ice creams). Added Medina: "I want for you all to raise a glass, and we're all going to say this in Spanish, and we all know this: Salud!" For more information or to make a reservation, click here or call 310-273-2222. This story was originally reported by L.A. Mag on May 30, 2025, where it first appeared.
Eater
23-05-2025
- Eater
A Vibey Coastal Mexican Restaurant Lands On a Posh Beverly Hills Rooftop
As the weather warms up, Four Seasons Hotel Los Angeles at Beverly Hills is gearing up to open a new rooftop restaurant. La Ola, a coastal Mexican restaurant, will debut on May 30 with executive chef Jesus Medina at the helm. Open for lunch and dinner, the sun-drenched poolside restaurant will serve a menu of shrimp aguachile, carne asada platos, tuna tostada, and more. La Ola's arrival marks the return of dinner service to the Four Seasons rooftop; it will be one of the only Four Seasons-operated Mexican restaurants in the U.S. Medina, who has been working with Four Seasons since 2012, developed the menu at La Ola to honor his upbringing in Mexico. He was raised mostly in the landlocked border town of Acuna, but says his parents' ancestry ties also to Spain and the Middle East. He remembers food being central to family gatherings, like his mother preparing a meal anytime his grandmother came to visit. The seafood influence at La Ola comes from Medina's time living in the oceanfront city of Punta Mita, which is a popular destination for its warm waters and expansive beaches. He recalls the fishers coming into the harbor with their boats full of freshly caught fish, and patiently waiting for the one with the best wares. 'That really taught me how to treat the fish,' Medina says. Medina's upbringing in Acuna has translated onto the menu in dishes like the short rib carne asada, which takes 14 hours to cook and is served with green onions, cucumber salsa verde, black garlic, and homemade corn tortillas. Seafood features heavily at the restaurant in dishes like the aged kanpachi with jalapeno kosho and a shrimp aguachile topped with cucumber and red onion. Medina's love for Japanese ingredients comes through in the octopus chicharron, served with a sesame oil- and charred garlic-based aioli, while Oaxacan influences appear in a tlacoyo topped with asiento and rib-eye carpaccio. Large mains include a dry-aged fish of the day with chayote salad and salsa verde, duck carnitas, and pollo alla brasa with mole. For lunch, La Ola will serve a more laidback menu of tacos with swordfish al pastor, carne asada, and fish tempura, alongside guacamole, a tuna tostada, oysters, and more. During the daytime, seasonal paletas will be available to cool off, plus ice cream, churros, and carlota de limon, a Mexican icebox cake with lime semifreddo. In the evenings, a cacao tortilla will be topped with a scoop of corn ice cream and puffed amaranth to resemble a taco, and puffy buñuelos come served with leche flan, yuzu, and caramel. Cocktails, available all day, include margaritas, a clarified strawberry daiquiri, spiked horchata, and a slushy welcome shot. It's Medina's intention that guests coming to the restaurant feel like they're being welcomed into his own home. 'I really want to make the connections,' he says. 'I believe I'm in the business of making friends and relationships with everyone who comes and dines.' Medina hopes that those who have been to Mexico will find familiar flavors on the menu that transport them back, and that those who haven't can be introduced to something new. He's planning to offer guests surprises throughout the dining experience, like a sip of tepache to start and chocolates with chapulines to take home after dinner. 'As you're done dining with us, I want you to continue your evening talking about your experience,' Medina says. La Ola opens on May 30 and is located at 300 S. Doheny Drive, Los Angeles, CA 90048. Reservations are available through Four Seasons . Sign up for our newsletter.
Yahoo
21-05-2025
- Entertainment
- Yahoo
Sebastián Lelio Talks Musical Film ‘The Wave' About Chile's 2019 Feminist May Protests: 'It Was An Iconic Moment'
Sebastián Lelio's has touched down in Cannes this year with musical film The Wave (La Ola), inspired by the wave of feminist civil disobedience that swept Chile in the spring of 2018. The mass protests and university rallies, sparked by a collective desire to bring attention to widespread harassment and abuse against women in Chile, came to be known as the 'Feminist May'. More from Deadline Spike Lee Says 'Highest 2 Lowest' Is Potentially His Last Collaboration With Denzel Washington: "This Is It-Five" Breaking Baz @Cannes: Spike Lee Croons Rodgers & Hammerstein On The Beach But Tunes Out As Talk Turns To Him Making A Movie Musical His Next Project Lynne Ramsay On How Critics Are Misreading Her Buzzy Cannes Title 'Die My Love': "This Postpartum Thing Is Bulls***t" Daniela López stars in the film – which debuted in Cannes Premiere – as a music student who joins the cause, haunted by an incident with her voice teacher's assistant. She is joined in the cast by a raft of young Chilean acting talents including Paulina Cortés, Lola Bravo and Avril Aurora. The musical film marks Lelio's first film in his native Chile since his 2017 Oscar winner A Fantastic Woman, with feature credits in between including Gloria Bell and The Wonder. Deadline sat down with Lelio in LELIO: I happened to be in Chile during the Feminist May. I was very impressed by the marches that took place, the demonstrations. The female students would march with masks, some with their breasts exposed. It was a very iconic moment. I remember seeing a photo on a newspaper with all of them on the street and it very impressive, very powerful. After A Fantastic Woman, I was starting to think about what I could do again in Chile. The idea of using this movement as a background to explore these themes, using the language of a musical film started to take shape. I thought it was a great opportunity to use the musical to talk about things that for which words are insufficient, to mix politics and spectacle DEADLINE: The WaveEmilia Pérez LELIO: We are in a moment in the history of humanity, but also cinema, where things cannot be that innocent anymore. So, if you're going to work within a genre, it's almost your duty, not to necessarily subvert it, but to expand it, to make self-aware narratives. So, when you're working with the musical genre tradition, you need to think about the genre and why you're using it. You need to push boundaries, so it's not an exercise of nostalgia, which is what has been happening for the last 25 years, with some exceptions, but rather an act of now. DEADLINE: Emilia Pérez LELIO: It does step into musical territory, unapologetically. The thing is the tone. It is something more than just finding a way to express things through dance and movement, movement and singing. This is more of depiction of political cacophony. DEADLINE: LELIO: We're going through a backlash globally. It feels like a betrayal and revenge against all sorts of advances is being orchestrated in a very conscious way. I think the pendulum still has a few meters to go in that direction before things hopefully start to get more balanced again. Globally, it's a moment where you know the demands of society, women's demands, used to sound like commonsense three years ago, and now they sound like crazy things. That's what they are doing. It's just part of the never-ending cycle of the dance between the attempt to change things and the way in which power deals with that. DEADLINE: LELIO: Yes and no, or I would say maybe 'no' and 'yes'. The way in which these things tend to develop is that a certain amount of energy is accumulated, the conditions for negotiation manifest and then politics and power make the move. Usually the movement, I'm talking history here, not this particular movement, is appropriated by politics, and then there is a sort of arrangement. Things have the facade of change but do not necessarily really change. It's a slow process. DEADLINE: LELIO: We did a very big casting process. Some of the biggest numbers feature 400 people in total. The average age of the woman in the story is around 22, or something like that. They were all very young. It's basically the introduction of a whole generation of artists and performers. For the protagonist Julia, we saw hundreds and hundreds of faces. Daniela's just out of drama school. It's her first role. DEADLINE: LELIO: I found the first exercise I did in film school on a tape a few a while back. I was around 20, and it's about four women. I understood it has always been there as a genuine interest. It was never programmatic. And then, the world changed, and this dimension became more prominent. DEADLINE: ? LELIO. My first intuition was that we needed to find a correspondence between the subject we were talking about and the way in which we were going to generate the pieces of the film. It had to be coherent. I called three female writers so I could write it being a minority, I called people I really admire, some I knew more, some less, but they belong to different aspects of the feminist spectrum. It took five years to finish the script. The first year was like them talking. I would contribute a lot, but clearly, I wasn't the one that was going to have many, many, many, things to say… the film expresses ideas and points of view that I agree with, but it's also a sort of like political and spectacular device that gives space to many points of views. It's more of an analytical portrayal of a moment than my own little thesis. DEADLINE: How did your long-time collaborator composer Matthew Herbert fit into the process? LELIO: This is fifth film we do together, and Matthew had the same question on how to create coherence. He said, 'It can't be just my score or my composition for the numbers'. He suggested we set up some sort of music camp and we invited 17 women songwriters. That's where the music came from, and where Matthew took many, many things from, from that experience with two big camps. So there is a collaborative, co-creatiive approach, with the spirit of sharing power. DEADLINE: LELIO: For me, he one of the choreographers working today. I said to him, 'We don't have a musical tradition. These actresses are very young. They don't have experience. We've never done musical films in Latin America, in Chile, so you would have to work with that. We won't have, like, professional dancers.' He said professional dancers would ruin this film. He has this approach that everyone can dance. He found ways to make those people, those bodies, change with what they had. It's not really belonging to the highly professionalized style of a more traditional film. There is something a little more raw about the aesthetics of the dance. It's the same with the music, most of it is coming from street chants. DEADLINE: LELIO: It's a dance, we've danced before. They are very supportive, but at the same time understand you need some space to create something that has certain uniqueness.. This is our fourth film together, but first film I've shot in Chile since A Fantastic Woman. Working with them in Chile feels like home. Best of Deadline Sean 'Diddy' Combs Sex-Trafficking Trial Updates: Cassie Ventura's Testimony, $10M Hotel Settlement, Drugs, Violence, & The Feds All The 'Mission: Impossible' Movies In Order - See Tom Cruise's 30-Year Journey As Ethan Hunt Denzel Washington's Career In Pictures: From 'Carbon Copy' To 'The Equalizer 3'
