gambas com toranja

que aspecto delicioso. salsa limão vinho branco azeite maionese tabasco azeitonas pimentão. acompanhando um copo de Sherry. e uns segundos antes de Sabine Azema começar a blasfemar. que vão todos à merda. delicioso contraste. entremeando o resto da amenta, a declaração do homem casado pela mulher casada que ela é. Celia Teasdale. o cenário todo ele artificial. a culinária dá-se bem com a comédia.

Smoking No Smoking, Alain Resnais

"Some of Resnais' American detractors have accused him of being an intellectual; Resnais has denied it, and I tend to support his disavowal. All of his films might be called culturally refined and Cartesian, in the sense that they're largely about the life of the mind, but they generally aren't interested in exploring ideas in depth. In all of his work -- from Hiroshima, mon amour, Last Year at Marienbad, and Muriel (his first three features) to Providence, Melo, and Same Old Song (three of the later ones) -- feelings play a much more important role. It's worth considering that his love of comic strips (which finally found a limited outlet in his least seen and perhaps most underrated feature, I Want to Go Home, scripted by cartoonist Jules Feiffer) and of Stephen Sondheim (whom he hired to write the score of Stavisky) isn't expressed as an intellectual enthusiasm. It's also worth considering that Americans, unlike the French, tend to see mind and feeling in opposition, which can lead to different definitions of what intellectuals are." (daqui)