There’s a certain shimmer to some films from the turn of the millennium, isn’t there? A kind of hopeful, colourful gloss that feels distinct to that specific Y2K moment. And few films capture that quite like Fina Torres’ Woman on Top (2000). Arriving just as we were all checking our computers hadn't melted, it offered a vibrant splash of Brazilian heat and magic, carried effortlessly on the burgeoning star power of Penélope Cruz. It’s a film that feels like sunshine captured on celluloid, a romantic comedy infused with just enough spice and spirit to make it linger in the memory, much like the scent of perfectly toasted chili peppers.
I remember seeing the VHS box art frequently at Blockbuster – Cruz, radiant and defiant, often surrounded by those symbolic red peppers. It promised something a little different, a flavour beyond the standard rom-com fare, and for the most part, it delivered.
### A Recipe for Liberation
The premise itself is charmingly unique. Isabella Oliveira (Penélope Cruz) is a gifted chef from Bahia, Brazil, whose culinary talents are almost supernatural. Her food doesn't just nourish; it ignites passion, inspires devotion, and seems intrinsically linked to her own emotional state. She also suffers from debilitating motion sickness, a condition forcing her to always be the one in control – literally, the 'woman on top' – whether driving, dancing, or loving. When she discovers her charismatic but unfaithful husband Toninho (Murilo Benício) in the arms of another woman, she makes an offering to Yemanjá, the Afro-Brazilian goddess of the sea, vowing to suppress her intense love for him. Heartbroken but determined, she flees to San Francisco, seeking a new life on her own terms.
What unfolds is less a straightforward romance and more a journey of self-discovery painted in bold, primary colours. San Francisco becomes Isabella's canvas. She lands a job teaching cooking, which quickly morphs into hosting her own idiosyncratic and wildly popular cooking show, "Passion Food." Here, director Fina Torres truly lets the film bloom. The cooking segments are filmed with a palpable sensuality; food becomes an extension of Isabella's personality – vibrant, passionate, sometimes fiery, always irresistible. You can almost smell the garlic sizzling, feel the heat rising from the pan. It taps into that universal truth: food is love, food is connection, and here, food is also Isabella reclaiming her power.
### Cruz Takes Center Stage
This film arrived at a pivotal moment for Penélope Cruz. Fresh off acclaimed Spanish films like All About My Mother (1999) and poised for wider Hollywood recognition, Woman on Top feels like a perfect vehicle for her specific blend of earthy sensuality and wide-eyed charm. She is Isabella. There's a genuine warmth and vulnerability beneath the character's newfound assertiveness. You believe in her passion for cooking, her heartbreak over Toninho, and her hesitant steps towards independence. It’s a performance that carries the film, making even the more whimsical elements feel grounded in real emotion. Why does her acting resonate here? It's the lack of artifice; she embodies Isabella's spirit with an infectious energy that feels utterly authentic, even within the heightened reality of the story.
Opposite her, Murilo Benício (a huge star in Brazil) plays Toninho not as a simple villain, but as a man genuinely bewildered by the loss of his muse and lover, resorting to grand, musical gestures (often involving his band serenading her from the street below) to win her back. He's flawed but undeniably charming. And then there's Harold Perrineau (years before Lost but familiar to many from Baz Luhrmann's Romeo + Juliet), providing wonderful support as Monica, Isabella's flamboyant and fiercely loyal cross-dressing neighbor and eventual TV producer. Their friendship offers Isabella a crucial anchor in her new life, free from the romantic complications represented by Toninho.
### Magical Realism Lite
What truly sets Woman on Top apart from its contemporaries is the gentle infusion of magical realism. It's never overt, but it’s always there – the way Isabella's emotions directly influence her cooking, the ritualistic offerings to Yemanjá that seem to genuinely shift the winds of fate, the almost hypnotic effect her televised cooking has on the city. This touch of the fantastical, likely drawing from director Fina Torres' Venezuelan roots and screenwriter Vera Blasi's vision, elevates the film beyond mere wish fulfillment. It speaks to a deeper connection between spirit, nature, and personal destiny, woven seamlessly into the fabric of a romantic comedy. It’s a delicate balance, handled with a light touch that prevents it from becoming overly saccharine.
The production itself feels like a celebration. Shot partially on location in Brazil and capturing the distinct atmosphere of San Francisco, the visuals are consistently bright and appealing. The Bossa Nova-infused soundtrack is infectious, perfectly complementing the film's sunny disposition. One delightful production detail involves the careful choreography required to make the food preparation look both effortless and utterly tantalising on screen – a testament to the collaboration between Torres, Cruz, and the film's food stylists. The film was made for a relatively modest $8 million (around $14.5 million today) and earned back about $10 million worldwide – not a blockbuster, but it found its audience, particularly on home video, becoming something of a comforting cult favourite.
### A Sweet Aftertaste
Does Woman on Top feel a little dated now? Perhaps. Some of the plot mechanics are undeniably convenient, and the resolution leans heavily into rom-com convention. Yet, its charm is persistent. It possesses a sweetness and sincerity that feels genuinely refreshing. It champions female independence and self-expression without preachiness, wrapped in a visually appealing package. It asks, doesn't finding your own voice sometimes require leaving behind the familiar rhythms of the past? What truly lingers is the feeling of warmth, the vibrant colours, the infectious music, and Penélope Cruz's luminous central performance. It’s a film that aims to charm rather than challenge, and it succeeds beautifully on its own terms.
Rating: 7/10
This score reflects the film's undeniable charm, Cruz's captivating performance, its unique blend of romance and magical realism, and its sheer visual and auditory pleasure. It might be light fare, but it's expertly prepared and leaves you feeling good. It doesn't reinvent the wheel, but it paints it in gorgeous, sun-drenched colours.
Woman on Top remains a delightful confection from the turn of the century – a reminder that sometimes, the most powerful magic comes from embracing exactly who you are, preferably with a side of perfectly spiced stew.