![]() “Breakfast in Kentucky” An exotic cocktail can awaken hidden desire in a mysterious and magical twilight bar of broken dreams.Įpisode 3. “Just a coffee” What was going to be “just a coffee” ends up bringing two foodie strangers a little closer.Įpisode 2. Pfening won the Best Actor award at Tribeca Film Festival for his performance in the feature film “Nobody Looks at Us” and in his native country is known for television series “Supermax,” “Valientes” and “Vidas Robadas.” His film credits also include “Born and Bred” and “The German Doctor (Wakolda).”Įpisode 1. Her film credits also include “Only You,” “Life Itself,” “Newness” and “Duck Butter,” while television credits include “Cites,” “Bandolera,” “Pulseras Rojas” and “Carlos, Rey Emperador.”Īrgentinian actor and director Guillermo Pfening stars as a cultured, successful mathematician who is at times a little naive. Nominated for a BAFTA Rising Star in 2017, Costa won the Gaudí Award for her performance in the multi award-winning film “Victoria,” alongside a Best Actress nomination at the European Film Awards. Laia Costa stars as an intelligent book editor who is somewhat suspicious of relationships. The series was filmed on location in Spain, Italy, France and Japan. subscribers starting Monday, July 13 on HBO GO, HBO NOW, and on HBO via HBO Max and other partners’ platforms. All eight episodes will be available MONDAY, JULY 13.įOODIE LOVE will be available to U.S. FOODIE LOVE is the first television drama project from Goya Award-winning Isabel Coixet. Yet while they bond over a shared devotion to Japanese yuzu and a distaste for foodie pretension, their insecurities and doubts fueled by the scars of their previous relationships may prevent them from tasting true love. ![]() They embark on a gastronomic journey, learning about each other through the mediums of jamón, ramen and fine dining from around the world. And it’s not overstating it one bit to say that, for me, this device on “Foodie Love” was a whammy of an eye opener.FOODIE LOVE, an eight-part drama series produced by HBO Europe in Spain, follows two thirty-somethings after they meet on a foodie mobile dating app. They lay out the drama and the reveal - a finale-long confession that elevates this show to a binge-fest of the rarest pitch - but they’re not there to further the narrative, so much as they’re part of it, and meant to place the protagonist couple skin-to-skin to the viewer. The VOs in “Foodie Love” are the mark of the omniscient narrator. The VO in “You” aids the narrative (as a running commentary and excuses-on-tap in Joe’s deranged brain, an intellectual exercise for viewers open to understanding “where he’s coming from”) and is heavily relied on for the big climactic twist (the unreliable narrator ploy, gets us every time, eh?). The story lies astride what the two say to each other and what they think to themselves about each other. It does feel like a crutch at times, and you can’t help trying to imagine the show without it - how many more thrills to be had from an opaque stalker/killer… Where Joe’s voice comes off as a (highly entertaining) gimmick, Isabel Coixet’s romance couldn’t have sustained the drama without the two characters’ voice-overs. ![]() In the thriller series, the stalker’s voice, mellifluous and all the creepier for it, is there to lull us into a false sense of security (we know what the antihero’s up to, at least, even if his victims don’t). They’re both used to speak, in more or less glowing terms, about modern love - but the emotional currencies are different: one is instant, urgent, venomous, “so money!” as befits the voyeuristic Insta-culture it inhabits and riles against (and not-so-secretly relishes) the other is pure, essayistic, fresh to the point of rawness, it breathes and lays itself bare against a backdrop of experiential culture that seems all but extinct across the Pond. ![]() Of course VO can have myriad uses and incarnations, but I was struck, watching these two series side by side, by how much these choices can say about the show-makers and the (show-making) culture being portrayed.
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