Word: ries
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...vegetables (€20), carrot juice (€8) and roast shrimp with Thai herbs (€28). The food is always dependable, never risky or flashy or attention-getting. The brothers aren't looking to win awards for creative gastronomy. "Every meal starts when a man asks a woman, 'Chérie, where do you want to eat tonight?'" says Jean-Louis. "Our cuisine is designed for women." Which means portions that are small bordering on skimpy; no sauces - too fattening; no "plat du jour" - too complicated; and never, ever two garnishes - an inexplicable personal obsession of Jean-Louis'. It doesn...
...wartime population has passed away, but Hiromitsu Yasumura learned the tale from village elders while still a child?and was ordered never to tell an outsider. Sitting in the village meeting hall, the lone building in what passes for Main Street, the orchid farmer, 46, and his wife Rie, 45, recount what happened...
...true scent of romantic obsession, one would have to go east: to the Chinese Peony Pavilion, Hong Kong director Yonfan's love story of two women (played by Japan's Rie Miyazawa and Taiwan's Joey Wong) in a Suzhou noble house. The film is so saturated in the sad glamour of their love that style becomes substance. The women don't make their sexual affinity explicit; but one can always feel the breath of the other's erotic interest, and the air goes humid with promise. Seeing Peony Pavilion is like getting high on the opium smoke a beautiful...
...This film, though, is so saturated in the sad glamour of their love that style becomes substance. The moving camera, the gorgeous homes and gardens of Suzhou, the handsome people with complex urges?they all seem to swoon in the telling of a story about Jade (radiant Japanese star Rie Miyazawa), a Kunqu Opera singer who marries into a noble house and falls into a near-lesbian relationship with her new master's mannish cousin Rong (Joey Wong, the premier ghost diva of '80s Hong Kong cinema). They don't make their sexual affinity explicit; as Jade sings...
Starting Friday, each day included screenings of at least two films by workshop filmmakers, a series of seminars and dinner at Adams House, which was suitably adorned with miniature French flags. On one occasion, several students at Adams House mistook the jeune Val*rie Stroh for a foreign exchange student. Stroh screened her most recent film, "Un homme et deux femmes" (1992) at the Film Archive on Friday night. After midnight each night, workshop participants and filmmakers retired to John Harvard's Brew House for conversation and libation...