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From the ‘Sex and the City’ Cosmopolitan to the ‘Pulp Fiction’ burger: this book gathers 100 iconic film recipes

Cooking with popcorn' reviews the most memorable dishes from the history of cinema and television recorded in the collective memory.

Click here to read the Spanish version.

This new work takes us into the most iconic scenes of a hundred films or cult series. From the cocktails of the ‘Sex and the City’ clan, to the doughnuts from ‘The Simpsons’ or the Big Kahuna burger from ‘Pulp Fiction’: all of them are projected and immortalized in a compendium of recipes for dishes and drinks acclaimed in the history of cinema and television.

In ‘Cocinando con palomitas: 100 recetas icónicas del cine y la televisión‘, authors Julio Le Marchand and María Victoria Hernández reflect and/or eternalize their love for gastronomy and cinema, visually supported by the illustrations of Melissa Siles.

Their book thus reviews the iconic dishes of films and series of all genres in the form of a gastronomic and cinematographic guide with which to have Walter White’s eggs for breakfast in ‘Breaking Bad‘, the decadent blue soup of ‘Bridget Jones’s Diary‘, the lasagna of ‘Garfield’, eat the pasta of ‘The Godfather‘ like a mafia boss, or drink the magic of Harry Potter with his butterbeer. 

Not to mention being able to savor the delicious animated creations of Studio Ghibli’s Asian cuisine, or Almodóvar’s traditional and traditional gastronomy. Dessert here comes in the form of apple pie from ‘American Pie’, cherry pie from ‘Twin Peaks’ or chocolate cake from ‘Matilda’.

Through all these gastronomic sequences recorded in the pages of this book, readers can learn to cook the dishes eaten by the characters of our favorite films and series such as ‘Twin Peaks’, ‘Breakfast at Tiffany’s’, ‘The Sopranos’, ‘Amélie’, ‘The Grand Budapest Hotel’, ‘The Office’, ‘Parasites’, ‘Harry Potter’ or ‘Friends’.

A whole menu or billboard from which to feed and quench our thirst for cinema through elaborations that go beyond the screen so that you can enjoy them in real life, because as its prologue indicates: who says that cinema can only be enjoyed with sight and sound?