Guillermo Balbona: El arroz a universal paisaje and includes neorrealista

The ‘Paella today’ a ‘Arroz amargo’. Although it is true that the tradition and consumption, the universal image and culture, the cost and the documentary, the film within the film and other types of audiovisual formats are offered professionally. … The geographical and geographical areas work in the neighborhood and in the fog, the language of the culture is ubiquitous. For the year 2023, Año del Arroz in Seville, a historical summary of the plasma ‘La Isla de los Ingleses’, by Juanma Suárez, who describes and describes the last years of the history of Isla Mayor, main productora de arroz de España. While referring to the filming season of ‘La Isla Minima’, Alberto Rodríguez describes the importance of the arrozales in the vast humedal areas and tells the fascination of the marismas of Guadalquivir. The culture, the recetas, the life cycle of this ecology are decades of documentation that have produced illustrative scenarios of the culture of the region. With its maestros, its emblematic lugares: ‘El arroz’ by Arturo Ruiz-Castillo, from 1943, is a clear example of a documentary model on the cult of Arroz Rodado in Sueca (Valencia). Pero fijemos foco and an excellent cinematographic film, which becomes an appearance as reconocida. The Japanese ‘Arroz’ (Kome) is a melodrama of the 50 that plays the tono and realizes the film of this país is a década and, breathes, a ejercicio costumbrista and a sorprendente exponent of neo-realism not Italian. Tadashi Imai is the film of this place that violates a social indictment, description of an ethnographic and competitive conflict between pescadores and farmers in an entire rural community. While I am in love, the first time a film has disappeared from many other forms, ‘Arroz amargo’ in Japan is the siembra, the color of the color, the use of colors, the coral mirada and a form of vida con el arroz as visual grammar and supervision.