40 user 19 critic

Food of Love (2002)

Paul, a handsome and talented music student is employed as the page-turner at one of the world famous pianist Kennington's concerts in San Francisco.




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4 wins & 1 nomination. See more awards »
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Cast overview, first billed only:
Pamela Porterfield
Paul Porterfield
Joseph Mansourian
Richard Kennington
Leslie Charles ...
Teddy (as Naïm Thomas)
Mingo Ràfols ...
Pepa López ...
Mauricio Cruz ...
Hector (as Mauricio De La Cruz)
Manu Fullola ...
Carlos Castañón ...


Paul, a handsome and talented music student is employed as the page-turner at one of the world famous pianist Kennington's concerts in San Francisco. Not only is Paul diligent but also extremely attractive, a fact noticed by Kennington and his agent Mansourian, two men at the top of their chosen careers. Kennington and Paul meet again in Barcelona, where the boy is on holiday with his mother, Pamela, who is trying to get over her husband leaving her. Paul and Kennington fall in love but this has very different implications for both men. Kennington rushes back home escaping from commitment. Pamela, meanwhile, begins to recover her self-confidence but Paul is no longer a child. Back in the United States Paul learns that his musical career is not going to progress as desired; he simply is not talented enough. Paul and Pamela will learn through their living experience how to build a deeper relationship. Written by Sujit R. Varma

Plot Summary | Add Synopsis


Drama | Music | Romance

Motion Picture Rating (MPAA)

Rated R for sexual content, nudity and language | See all certifications »

Parents Guide:






Release Date:

8 February 2002 (Spain)  »

Also Known As:

Hrana ljubavi  »

Box Office

Opening Weekend:

$3,692 (USA) (25 October 2002)


$3,692 (USA) (25 October 2002)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.85 : 1
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Did You Know?


C Major Trio
By Johannes Brahms (as Brahms)
Performed by Jan Pérez (cello), Daniel Ligorio (piano) and Sergi Alpiste (violin)
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User Reviews

Why is it no one can spell Juilliard correctly?
22 April 2006 | by (Bay Area, California) – See all my reviews

Forgive me, but I'm a retired proofreader, and Juilliard is almost never spelled correctly except by people directly connected with the school.

More to the point, I quite liked the film. Everything worked for me -- acting, direction, story, production. Not that I thought it a great film -- I did think there could have been more attention paid to motivation in several instances, such as Kennington's not answering Mansourian's many messages, Paul's involvement with Alden, and Paul's leaving Juilliard. Not to mention how Paul went from being good enough to get into the highly competitive Juilliard to not being good enough for a career as a musician in just a few years. Another 20 minutes could have fleshed out many aspects of the sometimes sketchy narrative.

While the wide range of opinion expressed by others above is not unusual in film commentary, the diametrically opposed views on so many points is fascinating to me. Perhaps hot-button subjects such as homosexuality, abortion, etc. inspire hyper-sensitive, if not hyper-critical responses -- pro and con.

What concerns me is how little or how narrowly most of the commentators -- gay as well as straight -- seem to understand the uniqueness of everyone's gayness, everyone's coming-of-age, everyone's taste and attractions. Of course, the same is no doubt true of heterosexuals.

For many, experimenting and/or interacting with peers is the "right" or "best" way to come to terms with one's sexuality. For others, far older or younger people are more appropriate partners, whether for short-term liaisons or for longer relationships. While some of this no doubt derives from our individual (sometimes twisted) psychological underpinnings, I'm convinced that such variations often are merely part of the great breadth of human nature.

Regardless of gender, many older people do gravitate to the younger for intimacy, but it's also true that many younger people gravitate to the older. Of course, some are manipulative, even predatory, but by no means is it always the older taking advantage of the younger. Regrettably, I think only one of the commentators above noted that Paul was using the older men, just as they were using him. Often, such "unequal" relationships are mutually beneficial.

Speaking of my own non-sexual experience, as a child and well into adolescence, I felt (and others observed) that I related more comfortably with adults than with my peers. In adulthood, it's been just the opposite -- I've been more comfortable with people 10, then 20, now 30 years and more younger. The only period when I was in-sync with my peers was my college years and shortly thereafter.

Frankly, my development as a gay person might have been much less difficult had someone 25 or 35 or 45 initiated an intimate relationship (sexual or not) with me in my adolescence. My few halting attempts to find intimacy with adult men were met with abject terror of even being suspected of pedophilia. Left to my own devices, I didn't really figure it out until I was about 30. Not that I ever thought I was, or tried to be, straight; I simply didn't have a sexual or emotional life. It's been rich and rewarding since, but I can't help wondering how much I might have missed. But enough about me.

It strikes me as troubling that so many, perhaps most people lack the certain instinctual knowledge that everyone's experience, everyone's psyche, is different. They may know it intellectually, but not viscerally. And so they can't help judging other people, as well as art and literature, as if everyone's life experience were much the same.

We're all entitled to our own thoughts, reactions, opinions. But to judge the characters, situations, motivations in a piece of fiction as unrealistic because they don't match one's own life experience is simply off the mark. Virtually everything in the novel as well as the film is familiar to me, so I guess that mean's it's realistic...no?

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