Original subtitles

[wind blowing]

[thud]

[Drew] Wine is cultural.

And wine is art.

[water spraying]

There is such a human side to making wine.

It's not just a beverage.

It's being farmed. It's the soil. It's the weather.

It's the terroir, the heart of the winemaker.

[squelching]

That's what goes into every glass.

[serene music]

I've lived and worked all over the world.

In 2012, we opened Deckman's en el Mogor

in Valle de Guadalupe,

on the grounds of an organic farm and vineyard

with the goal to be as close to a sustainable

zero-kilometer restaurant as possible.

And I think I finally found my home.

[music intensifies]

I came here because of the incredible ingredients

that come from both the Sea of Cortez and the Pacific Ocean.

We have beautiful produce, cheeses, meats, olive oils,

all within mere miles from the restaurant.

For me, it really is a chef's paradise.

After I became a Mexican citizen,

it was important for me to travel the country…

…and meet like-minded chefs, ranchers, producers, fishermen, artisans

who shared my commitment to responsible and sustainable farming and fishing.

Join me as we explore and deep dive into the magical landscape of Mexico

and discover its rich culinary tapestry.

INGREDIENT MEXICO

[music continues]

[Drew] For a country not known for its wine,

Mexico is making a name for itself and getting noticed by wine aficionados.

[pensive music]

It's a region where there are no rules that winemakers must follow,

where the vineyards grow a blend of varietals from the world over.

[Lulu] The fact that there's no rules and there's no legislation for the moment,

and we're discovering different varietals, the region,

the potential, just a new history being formed.

This is not happening anywhere else in the world.

This is very special because of the moment.

The momentum is now.

There's a great deal of creative activity in this part of the world.

In many ways, there isn't much history here

to hold us back or to guide us,

which is why things can develop in an unusual way.

We're not a DOC yet.

So here you can grow any grape you like.

Here we are free, and this is so typical of Mexico.

[Drew] In the mid-1980s, a group of forward-thinking pioneers

began to change the trajectory of Mexican wine

and began producing high-quality boutique varietals.

[Hans] Mexico changed dramatically after the decade of the 1980s…

WINERY

…and it definitely had different people being part of that movement.

It was a team effort, and it was a Mexican wine,

and it was quality that really lifted up

and is responsible for this big boom that we have today.

[Drew] As the wine industry flourishes,

world-class chefs are coming to the valley,

pioneering Baja cuisine and embracing gastronomy at its roots.

Valle de Guadalupe, in Baja California, is one of the most exciting wine

and gastronomy regions in the world.

Well, wine and gastronomy go together.

Absolutely. You cannot think about one

without relating it to the other.

You cannot drink a glass of wine just like that.

You need something nice to eat with it,

and you cannot eat a nice plate without a glass of wine.

[classical violin music]

People don't expect anything from Mexican wine

because probably 80%, 90% of people never have tried a Mexican wine.

So it's surprising for everyone.

You know that chardonnay has to be like this, right?

But how about a Mexican chardonnay or a tempranillo-sauvignon blend?

So I think Mexico, or Baja, is cool because of that,

because you don't expect anything out of it.

So it just blows your mind instantly.

It's one of the nice things about being here in Baja California

that you can really do sort of whatever you want.

Exactly.

[violin music resumes]

[Eileen] Because of our gapes' quality and our climate here,

as the years progressed, a sentiment appeared

within the few people that were here in the valley making wine

that this could actually be a place that could be a very well-known

and very quality-oriented wine region.

And that was led largely by Hugo d'Acosta and Hans Back off of Monte Xanic.

[soft music]

Really, when you think about Hugo d'Acosta

and what his legacy is on the valley, essentially what…

He was the first person that started to convince

grape growers to make wine.

Basically, what had happened was there were three big buyers.

This is late '80s.

And those three big buyers had gotten to a point

where they so controlled the market.

It was really oppression on these farmers,

and it was more expensive for the farmers

to raise the grapes, pick them, and bring them to the buyer

than it was for them just to leave it.

The price had become so low and the farmers were so pushed down

that there was no incentive to continue growing good fruit.

And Hugo said, "Well, I'll buy your fruit.

Why don't I make some wine? Why don't you make some wine?

You're growing great fruit. Why not start a winery?

Why don't you make wine from your own grapes?

We don't have to sell it."

And really convincing farmers to take that step up

and now become winemakers.

I think that's Hugo d'Acosta's legacy.

I think, becoming the catalyst,

the fire starter…

…for grape growers to become winemakers.

At that moment, we needed to develop a strong culture…

WINEMAKER

…in terms of winemaking,

but the land, the plants, the vineyard was here.

So the only thing that we needed was working together

to develop a Mexican personality.

If we help people to make better wine,

the region will have better quality and better reputation.

If we are able to pass something good,

something strong to the new generation.

And that is probably the most important work,

the most important subject that we need to take care of.

Well, this is a momentum.

Now, we are a lot of people with different ideas,

with different wine schools,

trying to show what is possible to do here,

which will be the best grape or the best wine to make here.

The valley said,

"Well, I give you the best weather conditions possible,

and you can experiment as much as you want."

And that's something I really, really enjoy

about spending time with Hugo and understanding his wines.

He's been somebody that's facilitated the ability to learn,

giving people a platform to learn about wine with Escuelita.

That philosophy and that point of view of opening up and sharing,

as opposed to, "I'm really good at this.

I don't want anybody to see over my shoulder what I'm doing,"

is such a progressive mindset.

And understanding that if he wants the destination to excel,

and succeed, and reach its full potential,

he can't do it by himself.

He needs to give other people the tools,

and that's what's created these very curvy,

beautiful avenues of wine in a valley, uh,

where it's just unbelievably sincere

and true expression of wine creativity

that I'm not sure is happening anywhere else in the world right now.

[gentle music]

[muted]

[birds chirping]

To the south, well, or to the north, any other part of Mexico, apart from here,

the traditions are very deep.

The culture is obvious.

Hundreds and thousands of years of history behind it.

The people who've arrived more recently don't have ties to the past so much.

Or if they do, their tie is to where they came from,

but they arrive here and realize that they can start again.

So we could do whatever we want, and there's nothing to hold us back.

So, the rule is there are no rules,

except that we tend to want to use local ingredients,

to have a philosophy about food, which mirrors the philosophy about wine,

for things to be as natural as possible, as local as possible,

and as sustainable as possible.

And so we've created a whole new Mexican gastronomy,

which is Baja Cuisine, which never existed anywhere.

And because there were no rules here, because there was nothing here,

people have been able to actually create something

that's now really in the vanguard all over Mexico.

This is the prologue of the book of Valle de Guadalupe,

and we are ending it.

The first chapter, I think, is the second generation.

When you go to Tuscany, when you go even to Napa, especially Napa,

they have at least 40 years with the certainty

that cabernet sauvignon is the grape,

and that they have to construct everything around that varietal…

MEXICAN WINERY

…the commercial aspect,

the agricultural aspect and the aspect of the winemaking.

And us, as a first generation, uh, we can get away with it.

Since we are the first generation, we have the opportunity

and we have also the freedom to explore.

For example, here we have one Spanish varietal

and the rest are French varietals.

All of them from the Mediterranean.

But you just travel one kilometer or half a mile,

and you go to a winery that only has Italian wines.

And then you travel maybe two kilometers or four kilometers,

and you have a crazy guy that has malbec or pinot noir.

So that, again, I think the diversity

translates to everything that we do here.

[gentle music]

[muted]

Natalia Badán is the matriarch of the valley.

She was raised here.

Her family's owned this land since the early '50s.

Her family was key in the initial development of the valley.

Uh, her father planted Olivares, the carob trade.

And has been an extreme force in conservation efforts.

She's an activist.

She's key to the past and the future for Guadalupe Valley.

[muted]

I think it's tough in a very small area like Guadalupe Valley

to really… define one varietal

or a couple of varietals that define the valley.

Just because it's so varied from the upper part of the valley,

it's a totally different climate than San Antonio de las Minas.

Uh, and then because there's so many different people

from so many different places,

I think, with this wine, you've defined the valley.

But the valley through the eyes of the Badán family.

-Yes, sure. -Right?

So, this is your heritage,

and you've treated French grapes in a way that has become Mexican wine.

You're not attempting to make a bordeaux replica,

but you're respecting your heritage in the terroir,

the terruño, the context of your ranch.

Yes, but I think we're still very young.

You know, this boom began about 30 years ago.

So that makes us very, very young.

And I think we'll have to adapt to climate change.

We'll eventually have to look for other varietals.

And with the time, I think, we'll find some varieties that express.

You cannot force it.

You know, you really have to adopt the rhythm of nature.

And every time you make a wine,

it takes you one year to begin to know what is going to happen with it.

So that takes many, many years. I think--

-But nebbiolo does very well, right? -Yeah.

Tempranillo does very well.

Anything that absorbs the heat and takes the dryness,

-and the lack of water. -Yes, yes.

And we're having trouble with cabernet franc, for example,

which I like very much.

But we're still experimenting a lot, and we're making very good wines.

I think every year they're better,

because people are much more knowledgeable.

That's a hard one, that's not an easy one to say.

-[laughing] -That's a tough one for me--

So, the fascinating thing about it is that you're always learning.

All the time.

And through this knowing and learning,

every year we can discover things.

Definitely.

There's no one style.

Again, coming back to history, we all have a history.

And Hugo had his personal history

in Montpellier, where he lived, and starting here.

I was in Bordeaux. Víctor Torres Alegre was in Bordeaux.

There are young winemakers who come from Australia now,

who are Mexican but studied in Australia or in Spain.

And that just means that today we have a lot of different styles,

a lot of diversity.

When you taste something like this, a cab franc and petite sirah blend,

who would think of blending petite sirah and cab franc, right?

It doesn't make sense at all.

Who has petite sirah apart from California and us?

Not even in France.

It's a varietal that's disappearing.

So it's cool to find it again in Mexico.

All of these things just make it so exciting and fun.

And people that are very-- I studied in Bordeaux so…

Snobbish, classical wine drinkers see this and go, "Wow!"

How can they not fall in love? Because they want that.

Step out of the golden cage and do different stuff.

That's exactly what's happening.

I have one that's called El Bastardo.

That's montepulciano and mourvèdre.

Nobody would think-- Italians and French would kill us.

They would kill each other, and they would kill us afterwards.

But it's amazing, it's great. It makes us advance so much quicker.

You know? We are very young.

There's been winemaking in Mexico and Baja

for ages, centuries, literally.

As an industry, we're very young.

I could think of Monte Xanic in the 1980s,

that really started pushing us as an industry.

So we're in the second generation of winemakers,

and we're advancing and doing co-fermentations,

and natural wines, and co-planting, and orange wines.

And things that a lot of people wouldn't dare to dream of elsewhere

because they can't, because of an appellation.

And this just makes us learn so much quicker.

[serene music]

[Drew] As you travel around the world,

so many wine-growing places have an appellation.

-Uh-huh. -If it's from Mâcon, it's got to be…

If it says Mâcon, it's got to be chardonnay, right?

If it's from Sancerre, it's got to be sauvignon blanc.

And if it's not, it has to say what the varietal is, right?

We don't have an appellation yet. I think it's coming.

I think that, eventually, we'll have something that identifies maybe

almost like the German way of identifying favorable growing regions,

as opposed to saying what grape has to be from a certain place.

How do you define Baja wines?

I think that what makes it more attractive,

what makes it exciting and vibrant, is this freedom that we have.

Most of us didn't have a grandparent that taught us how to make wine,

-or even a parent. -Right.

[Alberto] We're first generation.

Which is really different when you think about Europe or other--

-It's like-- -You inherit a--

Fifteenth generation.

Or… what is the Rothschild thing?

It's like, "How do you continue to make such good wine?"

"Well, you do it for 100 years and figure out all the errors,

and then you just repeat that for the next 200."

They're like, "Oh, okay. That sounds easy."

Well, it's very exciting to be part of history,

of the discovery of what is Mexican wine.

[in English] Something you and I have talked about a lot is

what is that magic point when you decide to harvest?

Because that makes a huge difference.

And you can't just go, "Okay, what has this number of Brix,

time to harvest."

Because it's not just the sugar, it's so much more.

-Yes. -And just playing that…

…sort of, moving scale of,

"Well, what do I want the wine to be at the end?

How complex is this for a rosé? Or is it for--"

There's so many options, but just that…

And I'm guessing, it's probably for you guys…

Uh-huh.

…it's the biggest pressure point of the year.

Once the fruit's in your winery,

I'm guessing you got it more or less under control.

These gray hairs are precisely that.

Choosing the best day to pick, because there's only one.

-There's one best day to pick. -You can't staple them back on.

Yeah. One thing is your sugar,

which is your alcohol content, and your acidity.

But what's more important in the wine is the flavors you get out of it.

So the last analysis you do is, walking through the vineyard,

trying the fruit, because there isn't an instrument

but yourself to taste the flavors.

You can't have a lab analysis for flavors.

That's a good point.

And the day of harvest is taking the picture,

and you have a composition, you have your lighting.

That can't change. There's no going back.

[serene music]

[Drew] So, this is tempranillo here?

Tempranillo to the left, nebbiolo to the right.

-[Drew] This is nebbiolo? -Yeah.

-[Drew] They're gorgeous clusters. -Aren't they pretty?

That's why when we do our testing for the Brix,

-we want to on do both sides, high, low. -You test on both sides.

Um, because oftentimes when people just pull a cluster,

it's not a true representative of where we're at.

Hmm. Right. Because morning fruit-- morning sun, afternoon sun.

Well, and you saw the end caps of the tempranillo,

-and then look at what we have here. -You scatter all over the place.

Yeah. I mean, this will never come to fruition.

So we're going to have to go through and drop it.

-[Drew] Can we do that right now? -Please.

One of the parts about being a winemaker,

once it's in the winery to a certain extent,

you sort of have control.

You can control temperature, you can control volume of the vessel,

you can control how much air--

-you control a lot of things. -Okay.

But when the grape is still hanging on the plant…

…your decision when to pick,

it's a… one-shot thing.

I mean, obviously, you can do separate cuts.

-Right. -You can do more cuts on the same rows.

You can do--

Well, that's why you also know a true winemaker during harvest,

the dirt on their boots.

I walk the lines multiple times a day because-- as a chef, you get it.

In the morning, that fruit hanging has a different

impact than at the end of the day, if it was a really hot day

or if you see something is evolving

and you can hit it with a bunch of water

and hope to plump it up to give it a little more longevity, it's--

It is a dance in hoping not to step on each other's toes

and trying to figure out the best time.

But once you cut it off the plant, you can't put it back on.

-Right. It's done. -Then you have-- your parameters are set.

Your acid is what it is, your sugars are what it is.

And then, therefore, that's when you have to maybe become

a little more creative with your fermentations

by working with temperature, working with yeast.

But, I mean, I guess, just like raising children,

-you can't just set it and forget it… -That's what I do.

…put it into a calculator and have this awesome result.

I mean, you have to be just as interactive with the growing process

as you do within the fermentation, as you do within the aging.

And so there has to be a great amount of respect

for the process in the field.

And I also think that they respond well too

if you walk through and show them a little love.

When I'm harvesting, I'm always playing music, and…

-You're one of those. -I am.

-Yeah. -But I do it by myself.

[mockingly] Sure.

-I do. -Yeah, yeah, yeah.

I wake up at four o'clock in the morning [chuckling] with my headlamp.

[Drew] Oh, man.

I don't know how many times and how many hours,

and days, and sunsets…

-And sunrises. [chuckling] -Sometimes sunrises.

I sat here with your dad.

The first few years, I think, were really special.

I think having my dad here,

who created this relationship with the community…

I think that's something that you also helped teach me.

I remember my third month here,

I was just so privileged.

And we were at our lunch at Laha.

"These people cannot respect my time."

And I was on one…

And you just let me go,

and then you said to me, "Okay, cool, Kris. You have two options.

You can walk around with this heavy backpack,

and you could just be angry at everyone.

Or you could realize that these people

are inviting you into their community, and it's their culture.

So how about you change your priorities and your expectations around

to fall in line more with what's already going on here?"

And that kicked the pedestal out from underneath me.

And I was like, "There's a reason this gringo is existing

down here in goodness."

And then, between you and Dad, I mean, my first four years here

were fun, full of good times.

-It's still fun. -It is.

I miss your dad. I miss your dad every day.

My dad always found an excuse to show up at your restaurant,

and you also were a horrible influence.

It would be 6:30 in the evening.

-We were mutually horrible. -[laughs] "All the reservations are in.

The grill is still hot. You wanna come over?"

My dad's like, "Well, we can't let that grill go to waste."

"He's burning a firewood. Somebody's got to eat something."

Yeah, but I think that what I love about the two of you guys together

was not only did you have an adventurous spirit,

but also your high respect

for the idea of coming in

as an immigrant, if you will.

It's coming in and embracing the culture and adapting.

And, you know…

I think that's also what we do as chefs and winemakers alike.

The idea of coming in and respectfully taking the ingredient

or the space or the community for all of the beauty

and not trying to change it in a personal way,

but trying to leave a positive impact.

So when you are gone, people think fondly of your experience.

And that was something my dad did well.

[Drew] I've seen changes in you. I've seen changes in Lechuza.

Where do you think this is going?

I mean, it's obvious that we have some issues,

some growing pains right now in the valley.

Where's this headed?

[Kristin] The water thing is beyond.

We don't have nearly as much watering because all of these new vineyards

are sucking up all of the superficial top watering.

Um… not only that. The tourism is different.

Ten years ago, when we opened, we would blow up balloons

and stand on the side of the highway and wave people down,

hoping that they would join our family table's barbecue, you know.

And now we have to turn people away because we can't fit it.

Where is it going to be in ten years?

Man, I hope it slows down,

and I hope that we can invest in proper infrastructure

to keep our existing community safe.

The folks who work every single day in these vineyards

and have for generations should have running water in their houses

rather than a four-diamond resort

with a massive bathtub.

There has to be some sort of balance.

-Here's to Lechuza. -Cheers. Thank you.

-Here's to Ray. -Thank you.

Congratulations.

When we think of winemaking, we think of a winery,

but actually it's agriculture.

It's down in the vineyard.

So, my most important job is being in the vineyard.

I'm over there three times a week tasting grapes,

and you have to have a balance between acidity and sugar.

And that depends on your palate, right?

Like, Kristin, who I love, can choose to harvest a certain date

because she likes-- It's like a chef, right?

She likes her chardonnay a certain way. I like my chardonnay another way.

I always talk with examples,

and I like this example because it talks to you.

Like tomatoes, if you want to do a carpaccio tomato,

you have to choose a certain type of tomato.

If you wait too long, with an overripe tomato,

and you cut it, it'll be impossible.

That tomato is great for sauce, but not for a carpaccio.

You have to think of a grape the same way.

If I want a crisp, bright, non-malolactic, non-oaky chardonnay,

then I'm going to harvest it early

because I need that freshness, that sharpness, that crispness.

It's all about just being in the vineyard, tasting the grapes.

I hate numbers, I hate having Brix, or…

You know it's all about senses.

I'm always tasting the grape just to see just to see

when I have the perfect balance between that nice acidity,

brightness, and sugar, density, creaminess,

and then I choose when to harvest, and we have to do it immediately.

Cooking and making wine is very personal and very intimate.

I had built my life in Bordeaux, and I wanted to stay there.

But when I saw that Eileen and Phil Gregory, who I love,

came to Bordeaux,

presented their wines, and started to talk about the Valle,

I'm like, "Oh, my God. They're American and British.

They seem so in love with the region, they…

I want that. I want to be in love."

I was in love with what I was doing, but not maybe with the region as much.

Listening to them and seeing their eyes light up, I was, "I want that."

So I came back to Ensenada and started tasting.

And, God, it was amazing, and I think that's the difference.

When you go to Vena Cava, and you have Phil's wine, it's Phil.

It's him, first person being involved,

and personally and directly being involved in it.

So that made the difference, and that's when I chose to come back home.

And it's cool, and I think Baja is amazing.

You actually get to see the people who are behind each project.

We need to taste every week, and then we adapt whatever we're doing.

So that's the fun part of it.

It's always… You know, wine is living.

So we always adapt to what we're tasting.

Tasting is a very, very important part of what we do.

And I think, again, coming back to Baja…

…we still do it because we don't have to do a certain type of product.

We can do whatever nature gave us that year

and adapt to the terroir, adapt to the grapes

without having to do a protocol or a certain type of product.

This can change every year, and nobody would hate us because of it.

So it's much more authentic.

[pensive music]

WINE ROUTE PIJOAN WINERY

[Silvana] I think, in the younger generation,

and even so much more in the younger ones,

we are now very much connected into the problems

we're going to have in terms of climate, droughts.

So staying separated from agriculture, I think, is no longer possible.

Not just for me that work directly in agriculture.

I think, as a generation, we're so much more connected to,

"Where did this come from?

What is it doing to the planet that I live on?

Is it helping? Is it part of the problem?"

Uh, you start to be a bit more conscious.

And maybe our parents didn't have that connection to the land

as deeply as we have to.

Natural wine is initially connected very much

to what happens in the field, in the vineyard, in the agriculture.

So you can't really create a good natural wine

or have a good conversation with your wine,

with your grape and with your region

if it's so much more controlled by many factors.

So, initially, I like that it's very honest

and very sensible in the way you approach it.

So, for me, it was to really understand the region

and to understand the personality

that we're capable of communicating and expressing.

-This first one is really nice. -Thank you.

And so this is your wine, right, Tito?

Yeah, this is a blend of chardonnay with chenin blanc.

The idea is a wine that pairs well with all the ingredients from the--

-This is Fluxus. -That's Fluxus. Yeah.

So we met, what, probably 2008 or '09.

At that time, it was still very…

Still pretty small. I mean, there was only 25 or 30 wineries.

-Yeah. -And now, how many are there?

-Closer to 200. -Closer to 200?

Not all of them have wineries, but they have a wine project.

Okay. This place has changed a lot.

[Daniel] It has changed a lot, but for me, Baja is amazing.

-[Drew] What changes have you seen? -In terms of the quality for me.

-For me, when-- Exactly. -Go up--

The ten years that I've been standing here,

-I've seen ten-- -Different-- [laughing]

-Very different… -Very different.

-…seasons and very different results… -Seasons, exactly.

…at the end of the year when you're harvesting the grapes.

-Yeah. -So as we get more time on the vineyards,

we're getting more complex fruit,

which is also allowing you guys to produce better wines.

That and the know-how, the years of experience,

getting to understand our site,

its limitations, which is scarce water…

…that makes you understand that your only growth is

making the best and the most out of what you have.

We're already at a point where water is in everybody's mouth.

It's a big deal.

I mean, we've reduced the size of our gardens

because of lack of water. We've…

A lot of things aren't producing because of lack of water.

What's our future? Where are we going?

Where do we find that stop so the wine culture can continue

and not the night club culture or the cantina culture

that's going to end up taking all the water that we need for the grapes?

That's a one million dollar question. [laughing]

But you guys are young and smart.

[Drew in English] Alberto, where are we going?

[Alberto] Ideally, it would be to translate,

to communicate to the new players that are making projects today.

They didn't live the initial days, the glorious days when this started.

So we have to communicate this emotion.

But the important thing is not to forget what gave identity to this site…

…what gave it a healthy growth.

It was all this camaraderie.

Well, I really respect both of you guys,

and I really enjoy all the wines that both of you make.

-[laughter] -[mumbles] Thanks, Drew.

-Thank you for your time. -Thank you.

[pensive music]

[Drew in English] As the growth has increased here in the valley…

…we're seeing non-passion-based investors coming in.

And these non-passion-based investors are building big wineries

um, with the idea of selling real estate,

um, with the idea of receiving tour buses,

um, and have really become hostile buyers in the grape market.

And they've come in and they've gone to these growers that…

I know Natalia's had more than 20-year relationships

with these growers, and all of a sudden,

"Oh, no, our fruits aren't available." "Why is that?"

"Oh, well, because this new winery here came in

and it paid us three times what the going rate is.

But to sign the contract and to get prepaid,

we had to agree not to sell to anybody else but them,

and they buy the entire parcel."

So very hostile,

very, uh, talk-to-the-hand, kind of, mentality.

People who come to a new place and then are not good neighbors…

…are not improving the overall…

…um…

…spirit or soul of the valley.

And you're taking people that live… small wine producers that live

from what they're doing and now can't get fruit because…

I mean, you could look at it as capitalism, right?

I mean, it's supply and demand.

The supply just went up to $4000 a metric ton.

If you can't pay it, then it's a natural market cleanser.

[soft music]

You know, straight John Maynard Keynes economy philosophy.

But then there's such a human side to making wine,

and a cultural side that I think supersedes the business side of it.

And, you know, wine is art.

It can be art.

Wine is cultural.

It's not just… a beverage.

It's… being farmed.

It's… the soil.

It's the weather. It's-- everything goes into that glass.

The main thing is not to forget the vocation of the region.

And the vocation is agriculture,

growing grapes, growing olives

and growing Mediterranean cultivars.

And it is the only spot in all Mexico where we can do that.

So I think that we really have to defend

that vocation for the future.

Because if we lose it, if we become a city,

we won't get it back.

If we don't conserve what created the tourism,

the tourism then disappears, and we're left with nothing,

not the tourism or the agriculture, which is then gone

because somebody felt like it was more important to have a hotel.

I always like to say, if 50 chefs decided to show up in some valley

and open 50 restaurants in the middle of where there's nobody,

it probably wouldn't do anything, or bring anybody.

Unfortunately, some of our neighbors

and some of our colleagues forget that the wine was here first,

and the wine is what allows us to do what we do.

[Natalia] Absolutely, because we want it to last.

[melancholic music]

[music fades]