Navigating the stress of daily life—juggling a day job while pursuing a new career path (I’ll delve into that journey a bit later), grappling with challenging health issues from years of waiting tables which is beyond physically demanding , and battling an autoimmune disease that takes its toll both physically and mentally—has left me with little mental space to truly enjoy Cinema. Coupled with all of that has been a lingering sense of guilt, especially considering the ongoing turmoil and distress in the World.
This sense of neglect gnawed at me, as if I had lost touch with a dear friend. Fortunately, just as this feeling peaked, I discovered “The Taste of Things” was available to rent on Apple TV. So this week I eagerly carved out time to immerse myself in what I found to be the gentle embrace of masterful filmmaking.
Written and directed by Tran Anh Hung, “The Taste of Things” reunites Juliette Binoche and Benoît Magimel, former spouses and co-parents, marking their first collaboration in 25 years.
In the role of Eugénie, Binoche serves as the personal chef to the celebrated gourmet Dodin Bouffant in his pastoral 1889 French estate. Each scene meticulously honors French culinary art, yet, more profoundly, the film portrays cooking as the ultimate expression of love. This act of service becomes a deeply sensual pleasure, demanding both dedication and precision. At the same time, it poignantly underscores the fleeting, bittersweet nature of life itself.
Juliette Binoche delivers one of her most compelling performances yet, embodying a character who speaks volumes through silence alone. The sheer delight she takes in her culinary craft, alongside the palpable affection she holds for her longtime lover and creative partner, is utterly infectious.
Benoît Magimel’s tenderness and unwavering commitment to Eugénie is nothing short of mesmerizing, heightened by the profound silence that often characterizes their interactions. Tran Anh Hung’s bold choice to forgo a musical score throughout the film adds another layer of depth to the experience, allowing you to fully immerse yourself in the intimate dynamics between not only the characters but the mouth watering dishes they prepare.
In the narrative’s unfolding, a subtle critique of culinary elitism emerges when the characters find themselves dining with the fictitious prince of Eurasia. Their disdain, however, isn’t directed solely at the meal’s lackluster quality but rather at its extravagant display devoid of substance.
The storyline gains momentum as Dodin extends an offer to prepare a meal fit for the prince, using the occasion to express his affection for Eugénie. His meticulous planning culminates in the selection of pot-au-feu as the pièce de résistance, a quintessential symbol of French gastronomy. This choice not only underscores the film’s overt Frenchness but also delves into the notion of finding beauty and complexity within simplicity.
While pot-au-feu may appear as a humble dish, it embodies layers of flavor and nuance when crafted by a master’s hand—an allegory for the film itself. Through Tran Anh Hung's expert direction, “The Taste of Things” transcends its apparent simplicity, using silence to illuminate the profound need for companionship, collaboration, co-creation, passion and ultimately love.
I encourage you all to embark on the cinematic joy that is “The Taste of Things” today and I’ll eagerly anticipate hearing your thoughts and experiences in the comments!
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