If you have been reading me for a while, you know that in terms of cinema I was definitively plagiarized by the Nippotorinese by now thirteen years ago. If before I made everything go well, with him the business became difficult. Exceptional cinephile (and critics too, uff!) Has unequivocally changed my way of seeing – and consequently appreciating – visions and films. The thing is weird, you know? Because I am an obsessive maniac who is unlikely to be influenced in certain areas. I’ve always had very clear ideas about what I liked or didn’t like. And I am not part of the ranks of women undecided when faced with a choice. I always choose immediately and have no second thoughts. If I like something, it happens within half a nano nano second. If I don’t like it with time, I can change my mind for charity but, come on, hardly. I have well-defined and clear tastes. The Nippotorinese, as I have often told, offered me a broader, not to say infinite, vision, commitment and that “niche” cinema – I hate to bother with the term but the preamble is already too long for what I have to tick today – that very often it is seen as only for intellectuals who like to tell each other about slow motion shots and sequence shots. He made me fall in love with film criticism and thanks to him I met fans and true geniuses. After all, the Nippotorinese and I met in a cinema forum: Pigrecoemme.

In this regard, let me remind you that if you like cinema and you want to read interesting things that you do not find easily, there is Slow Film, which is written by the aforementioned genius of Giuseppe. The following is a chat about very light films to watch if you are a passionate foodie, perhaps taking advantage of the Christmas evenings. So why the boring preamble about busy cinema and how I have changed and blabbled? To give me a tone and make believe that blablabla? No. Simply to say that I am no longer used to “commercial” visions -always to shorten eh- and that I don’t get excited anymore except with Wong Kar Wai or Kitano or Kubrick.

I had to catch up with Pier (the Nippotorinese yes, because every time I call him by his name everyone tells me who he is. He always makes me laugh) decades of cinematic cultural lack and once I did the full immersion I had even doubts about Pretty Woman. Never on Dirty Dancing though. After some time I began to find a balance and understand that not all films can be signed by Wong Kar Wai, who as you have deduced is a divinity to me and so should be for the rest of the worlds, but that Pretty Woman also has a its why. I mixed past and present and I manage to be, unlike Pier who is very unpleasant and hasn’t seen Pretty Woman, a bizarre middle ground between busy cinema and films to be fed to anyone who follows hysterical laughter.

The titles that I propose to you today belong to these extremes and to what lies in between. If you are a foodie enthusiast you will certainly have seen some of them but if not you are missing out on something really beautiful and interesting from different points of view. There are five visions that you can easily find as they are practically all present in the Netflix catalog, except that of Mrs. Toku, which you can find on Sky on Demand.
Amore Cucina e Curry, originally titled Hundred Foot Journey, lasts 122 minutes and was produced in India, the United Arab Emirates and the USA. A film that is a film adaptation of the novel Madame Mally and the little Indian chef, which I do not hide from you I would like to read. The author is Richard C. Morais. There is an amazing – as always – Helen Mirren that I really like, just to provide news of no interest. Om Puri, Manish Dayal and Charlotte Le Bon. When I saw the poster on Netflix I already knew that I would not be able to finish it because – for some of the reasons above and others that thank goodness I did not tell you – I would be bored to death. Instead, I found myself laughing out loud, falling in love with the love stories that are born and destroyed between diversity and common passions. Until the end when a liberating cry made me literally fall in love with this simplicity. Obviously, for heaven’s sake. No twist. No shot to make your heart beat. No photography that makes you rethink colors but. But colorful at the right point, funny, moving and even if taken for granted, really a story not to be missed. After a tragic accident, an Indian family travels to Europe in search of a better life. Arriving in the south of France they decide to open an Indian restaurant; pity that they find themselves competing with Madame Mallory -Hellen Miller- who runs a starred restaurant of international fame.

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