Coffee Shot Missing. Help!

Most Perth cafés offering take-away options have tree sizes: Small, Regular and XL.

Here it is the sin spreading throughout our city. The small cup has one shot of coffee, the medium has two. And the large has... two and an a half shots instead of three. What?! What?! What?

They, of course, do not tell you, no written signs, they let you delude yourself. Delusion makes people happy. Placebo effect delivered to you with your cuppa and a big smile every day. Baristas are all so good-looking that you can't help it and smile back at them. Still, if you ask, they will tell you. 

These sort of policies are a bit of a cheat to consumers and coffee lovers who, like us, spend a little fortune on coffee, and expect their coffee to be perfect and wonderful every time every size. Moreover, the missing shot (or half a shot) makes a huge difference in the flavour of the coffee you drink, wherefore most XL takeaways taste bland and latte-ish.

If this was not enough sin, some cafés put one and a half shots in the regular, and two in the large, the small still having one. What the flack?!

I always ask them to add the missing shot or half shot; they smile and say "of course", but the coffee still tastes bland. I guess it is another dollop of delusional smile sweetened with an elusive shot.  

Many cafés have a great coffee indoors, but then it tastes watery and bland when prepared for takeaway. We pay a lot of money for our coffee, so please, deliver. Should we order two small coffee cups to get what we want?

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Pepper Lunch (Perth WA)

Shop 5g/ 95 Barrack St,
Perth, Western Australia 6000
(08) 9325 3532
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Hours   
   Mon - Thu: 11:00 - 21:00
   Fri - Sat: 11:00 - 22:00
   Sun: 11:00 - 21:00

Centrally located in Barrack Street, in an area that has become popular with little funky Japanese and Korean  eateries, Pepper Lunch is a nice fast food restaurant that serves Japanese fast food - simple, tasty, healthy, fun to cook, and good-priced.  

The place is very clean and functional, still very pleasant, and attracts an eclectic group of people. The system works like this:
- You get an iron dish, that is really hot, with the food you order.
- You mix everything and allow the food to cook on the dish stirring it.
- You wait a few minutes for the food to cool down.
- You eat it. 
There are steak dishes, in which you get the meat/fish of your selection (beef, chicken, burger, salmon, or a combo) mixed with veggies and bean sprouts. Otherwise, you have kimchi or curry dishes arranged in a similar fashion but rice-based.

The selection of drinks is very limited, just a few drinks from the fridge, plus miso soup.

The staff are lovely, very friendly, and serve your fast. They have a menu with photographs, which also specifies which dishes are hot, so you know what you are ordering and what you are going to get.

Pepper lunch is a bit pricey for fast food, with prices going from 9-17 bucks, still very cheap, and you know what you are putting in your mouth.

Pepper Lunch is nothing to rave about, but it is a nice place with healthier food than traditional fast food (unless you choose the burgers), and attractive enough to return or drop by any time, as it is open ever day of the week from brunch to late dinner.

Location - 7/10
Layout - 6/10
Ambience - 5.5/10
Food - 6/10
Drinks - 4/10
Service 7/10

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"Persepolis" by Marjane Satrapi & Vincent Paronnaud (2007)

Persepolis is a French animated movie that narrates the autobiographical story of Iranian artist Marjane Satrap; it is  based on her own graphic novel. It is an honest movie, heart-warming, extremely funny and very engaging.

Persepolis tells Marjane's story from childhood to mid youth. We witness her family upbringing, her relationship (or lack of) with God, the political and social events that happened in Iran during the Islamic Revolution, her university years in Austria, her love stories, her emigration to France and her approach to life as a female artist.

There is a lot of humour in this movie. Some of Satrapi's love stories are hilariously narrated despite the impact they had on her. The black market of Western Music will put a big smile in your face (it is directly connected with the situation told in the Iranian movie Nobody Knows about Persian Cats). Also delightful it is the presence of little funny street cats, dogs, and worms in general scenes, which create an atmosphere of proximity and tenderness even during the saddest moments.

The story is mostly presented in a black-and-white flashback, with a superb use of chiaroscuro and cut-out bold colours for the narration in the present tense. The absence of colour gives the story historical perspective and seriousness, and it is perfect to portray Satrapis' past treasured moments: day-dreams, hopes, ideals, music, culture, smells and happy family times. On the other hand, the black and white gives the story a necessary  emotional detachment to show many of the hard themes presented in the film: oppression, depression, war, censorship, torture, immigration and loneliness, among others.

The animation is minimalist and schematic, flat, but attentive to the detail, very  traditional comic-book, still very classy and contemporary. Persepolis reminded me sometimes of the freshness and creativity of "Sita Sings the Blues" in the way different animation sub-styles are used within the movie. For example, the story of how the Shas of Persia got into power is very "puppetish", while the recreation of the different movies watched on TV (Terminator and Godzilla) have a chunky sort of drawing and are definitely modern pop comic book.


I would have liked that the movie went a little bit further on in time, as Satrapi is a fascinating character, and her story is wonderful. Still, this is one of my favourite animation movies ever,  because it touches me in ways that most animation movies cannot. Satrapi's story succeeds because it goes beyond herself, and we understand -even if it is superficially- what does mean and feel like being an Iranian and Middle Eastern person in Europe, being a woman -and a special type of woman- in Iran, being and artist out of place, and being a foreigner both in your native land and abroad. Satrapi's story serves to highlight the process of alienation that most immigrants suffer, but also a reflection on what is what makes us who we are, which is something intangible and indescribable, but powerful and unique that escapes categorisation, national borders or gender, no matter these are part of your cultural background.


This is the sort of movie that will captivate animation and art lovers, and people who are into Arts, comics, graphic novels and illustration. It is intellectually elating and emotionally absorbing, and will feed those viewers who are hungry for an animation that is different, daring, and meaningful. 

Go and grab it right now (in French with English subtitles, please!). 

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"Intimacy" by Patrice Chéreau (2001)

Intimacy is a European co-production directed by French director Patrice Chereau in his first English speaking feature, also set in the UK. The script is based on two pieces by writer Hanif Kureishi: the book "Intimacy", and the short story "Nightime".

Intimacy tells the story of Andy, a divorcee bartender who meets Claire in his apartment on Wednesdays to have sex, no words involved... until they start to click emotionally and Andy starts following her.

Intimacy is a soaring and raw movie about midlife disenchantment, and the need of physical contact to build emotional one.

The film has been controversial due to the presence of explicit sexual scenes. However, reducing such a good film to just these scenes is intentionally misleading, moralistic, and completely unfair to a story that presents many problems of middle-age in a raw way: divorce, loneliness, emotional emptiness, fracas and rejection, life disillusion, life stagnation and lack of perspective, the conflict between being and adult having to carry your responsibilities and the inability to carry yourself, unhappiness and hope. All of this is beautifully blended and portrayed in the film.

The sex scenes are very strong, simulated most of them, but very convincing as they feel very real. The viewer gets the impression that is watching a real couple in their most intimate moments. The sex is always raw, and goes from almost brutal to sweet, from hungry to delightful, from anxious to comforting, with all the body language and emotions associated to different emotional states. Being so, the viewer does not feel aroused by the images, but sad and anxious about the couple being so in need of human contact and emotional intimacy, and so unable to connect.  In that regard, the film creates a clear line between what sex is not, and sets a clear boundary with porn, despite the fellatio in the film being non simulated.

The mood of the movie is a mix of night and interior greenish/yellowish depressing scenes and warm and luminous ones. The art direction is great, as well as the music.

The performances by all actors are terrific, convincing and powerful, especially by the leading couple Mark Rylance (as Jay) and Kerry Fox (as Claire), in two roles that are extremely demanding both at a physical and emotional level. The supporting actors are also convincing: Alastair Galbraith as Claire's husband Victor, Philippe Calvario as gay bartender Ian, Timothy Spall as Jay's drug addict brother Andy, and Marianne Faithfull as Claire's friend Betty, among others. Although Galbraith is always terrific, I do not think he was the right person for his character, as it is difficult to believe that Claire would be with this sort of guy, honesltly.

A very sad movie, not easy to watch, with confronting images and themes, moving at times, with a very powerful story, wonderfully performed and directed. 

Not for prudes!

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Paradiso Cinema (Perth WA)

164 James St
Northbridge Western Australia 6003
(08) 9227 1771
http://www.luna.com.au 

Paradiso is one of the few cinemas left open in the CDB, and the one that shows the most interesting films, mostly European films and awarded ones.


I have a mix of feelings about the Paradiso. I like the location and place, and I go there often, but the atmosphere is decadent and boring, and the selection of movies mainstream. No spark anywhere or from anybody.

Despite its great location, and the mix of cosy and fully-sized cinema theatres, the place looks desert most of the times, no matter the time of the day you go, the day of the week you go. I have often felt like a loner, despite me going there to share the movie with other humans. You know, if I wanted to watch a movie on my own I would do so comfortably at home.  I have rarely found the cinema theatres full, and it is usually Oscar-related movies or popular foreign comedies. The last two A separation, and A Chinese Tale.  

The Paradiso hosts the French, Spanish, Italian, German, Russian, and Israeli Film Festivals every year. That is great. What is not great is the selection of movies shown, which is usually made of bland comedies, feel-good movies and an isolated drama... mainstream. They are great if you want to practice any of those languages or see anything foreign in general, especially if you attend the special events they host. Honestly, I would rather have a World Movies film festival showing terrific films from different countries of a given year, than well-marketed mediocre national ones. Wouldn't you? If you really love Indie, independent and good-quality world movies go elsewhere.

The Paradiso is full of loners who do not want to be so. There is a reason why the cinema does not attract the bunch of people that Luna does, despite its location, and it is the selection of movies they have, the atmosphere of the place, and the time screenings they have. That explains the abundance of retirees and mature people in general.

Another thing that bugs me is that the people selling the tickets never seem to be happy or smiley. That is so, because there is usually one person attending to the sale of tickets, and another to the bar, and one, if we are lucky, helping the other two in special events. This is so even if the cue reaches the street. They are overworked many times, and cannot show any spark, because they do not have any left.

The Paradiso is not like one of those old European cinemas, the ones that pretends to be, because those cinemas are full any time of the day with people of all ages and lots of young people, they are much cheaper in general, and have better prices for students.  

The good thing about the Paradiso is that, most times, you can seat wherever you want, and cry freely at a movie without having to fake that a tiny particle of dust is the cause.

I like the Paradiso, but they need to revamp the place, still keeping its essence, and to have a better selection of movies. On the other hand, many of the movie festivals show the films at awkward times, which are impossible for any working person to attend. 

They used to have a better selection of movies in the past, so I do not know what is happening.

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The Tuck Shop Café (Perth WA)

1/178 Newcastle St
Perth Western Australia 6000
(08) 9227 1659
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Hours:
    Tue-Sun 7:00 - 16:00


THE PLACE - Located in in a clean spot, The Tuck Shop is tucked away from the hustle of the nearby William Street, in a new area of Newcastle Street that is slightly becoming a preferred location for new eateries. Tuck Shop is a name that perfectly describes what this little café is, a place where people go to eat heartily - passionately I would say. The place is very functional and clean, with every millimetre occupied and mindfully used. The Tuck Shop attracts an heterogeneous group of people, from trade workers to business lads, to glamazones, grannies and yummy mammies, loners and groups of friends.

The ambience is casual but friendly. I love the natural light the place has, which creates a relaxed cosy atmosphere, especially after 1.30 pm, when most people are back to work and the place is what should be - a nice café where to seat and enjoy a nice traditional meal without having the bottoms or elbows of other customers bordering your table, or the conversation of the people next table being part of your day. Although, to be completely honest, I find the later quite entertaining. Some of the one-person tables are actually used for two people, so you will have your companion at 5 mm from your face, which is great if you want to kiss, not much if you want to eat.

THE FOOD -  This is a nice café with fresh produce, hot food prepared and cooked in the premises. They have a small but well balanced menu with very healthy and very earthy options, Mediterranean and British dishes and Australian sizing. Classic dishes that will make everybody happy because they are well cooked, nicely sized, and beautifully plated. Traditional old-school cooking in its full splendour. You go there, you eat well, and you leave full and satisfied. The best thing is that they do not to pretend to be anything fancy and do not overcharge you for what you eat despite the hype.

The pies are huge, full of chunky pieces of meat, which are tender, juicy and full of flavour, and with the right amount of gravy. The Pork Belly should be called Wholly Molly Belly because it is huge, and very tasty;  it is a great winter dish that will feed two women or a traddie :O. The mash potato was my mother's like - divine!

Most ladies seem to prefer the light options, while men (and women with a stomach) prefer the traditional dishes.

THE SERVICE - The service is very good, and I am surprised at finding people complaining about it. What I have found is extremely friendly ladies, running non stop, cleaning my table, taking my order, and putting water and cutlery on my table very fast. All of that with a smile and willingness to serve. Depending on what you order, and how many people are before you, you will get your meal very fast or  you will have to wait a bit, about ten minutes, which is not that bad. Still, nothing to worry about during my lunch break. 

THE COFFEE - I am not a fan of the bland Toby Estate's beans, but Tuck Shop prepares a decent coffee, which is consistently good in the premises and for takeaway.  Still, a bit weak and lacking in flavour for coffee addicts and aficionados 

ROOM FOR IMPROVEMENT
 1/  The place needs a barista that is just in charge of the café and another person attending to the cash machine, instead of the girls doing three jobs. They also need another waiter for rush hours, so the service is more relaxed.
2/ Another table on the footpath would be great, and would give some relieve to the indoors area.
3/ Golden Rule: You do not add salt or pepper to your food until you have tried it. Therefore, instead of asking if you want pepper before testing, they should have a salt & pepper set on each table, so customers can use them (or not) at ease.
4/ Correct the fattiness of the pork belly with some zest, refreshing herb or condiment, so the palate can enjoy the fat without being overwhelmed by it.
5/ The peas mash are OK, not specially tasty and ugly looking. Why not mashing then properly and adding some spices? I know this is the traditional way, but they are boring.

***

I would go to Tuck Shop to eat those dishes that require of culinary skills - traditional food like pork belly, pies, soups and cooked dishes. You can easily prepare the bruschette at home. Still, some of the ones served here are great a perfect for breakfast.

I find completely ridiculous finding people cueing and waiting outside for a considerable amount of time, both on weekends and weekdays, which contributes to the crowding of the place. If they line for a nice café, what would do they do when they find a one-star Michelin, take their tents and camp overnight? Chaps, if the place is full, go elsewhere, and come back another day when the place is not full; this favours a better service and will improve the atmosphere of the place, which is overcrowded, noisy and hectic at the moment.

Location 6.5/10
Layout 6/10
Ambience 6/10
Food 8/10
Coffee 6.5/10
Service 9/10
Pricing 8/10

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"The Imposter" by Bart Layton (2012)

This is the documentary, of the many I saw during the Perth Revelation Film Festival 2012, that has stuck to my memory, and the one that fascinated me the most.

The documentary revolves about the vanishing of a 13y.o boy, Nicholas Barclay, for his home in Texas in 1993, to be found in Spain with an apparent amnesia six years later. What happens after the young man call the Spanish Police is the core of the film.

The movie mixes interviews with the protagonist Frédéric Bourdin, Nicholas' family, American FBI and Consular officials, and has very atmospheric re-enactments done with Spanish actors and settings narrating the events occurred in Spain. The story is build up like in a thriller, and it will keep you glued to the screen, wanting to know what is going to happen next. 

Layton has given the documentary the tone of a mystery movie in the re-enactments, but also in the interviews through the use of the chiaroscuro, camera positioning, hues of the film, and the tempo and way the events are presented - everything serves to build up suspense and mystery, and make you doubt and question yourself. Is this a real documentary or a mockumentary? Are we being fooled? The story is fascinating and amazing per se, but the way it is presented, is marvellous from a cinematic point of view as lets the viewer munch on a few philosophical themes: self-identity, reality and perception of reality, the connection between emotion and perception, and the use of cinematic narratives in documentaries based on real events, among other things.   


One of the main downs of the movie is that Nicholas' family is somewhat ridiculed and vilified for the sake of the storyline. After all, we need of good, bad, stupid and clever characters in a story to create an interesting film. In the first place they are portrayed as ignoramuses; however, they are a suburban family living in a poor area of the USA, with little or none education; you cannot expect much of any person grown in this social environment anywhere in the world. In the second place, they are ridiculed for failing to detach themselves from their emotions and see something really obvious for the spectator; however its a characteristic of human nature and behaviour to attach emotion to our thoughts and to interpret what we see according to our own personal individual viewfinder. We do so, all of us, every single day, in our daily lives, so you cannot expect traumatised and emotional people to see things as clearly as we see them from our seat in the cinema. In the third place, the movie implicitly blames the family, by letting some of the characters doing so, for the vanishing of Nicholas, without providing any evidence for it.

Still, this is a terrific documentary. The less you know about the whole story at the beginning, the more you will enjoy it. This is a documentary that attracts people to the genre because reinvents it. A proof that a documentary can be amazing, intriguing, entertaining, and thought provoking.

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