THE MORNING LIST
The holidays are coming soon, let’s sit down to eat with Frederick Wiseman who examines a triple Michelin star in Menus-Plaisirs – Les Troisgros . Let us heal our misfortunes like Oury Milshtein in his diary, For your marriage . Let’s talk about family around Her Father’s Daughter, by Erwann Le Duc, and thrill to the incandescent images of A Body Under the Lava , by Spanish directors Samuel M. Delgado and Helena Giron.
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“Pleasure menus – Les Troisgros”: cooking as a show
In fifty-six years of career and a good forty films, Frederick Wiseman, 93 years old, based in Paris, has devoted a handful of films to France as an undercover defector, documenting a few cultural institutions, with La Comédie-Française or the Love Played (1996), La Danse. The Paris Opera Ballet (2009), Crazy Horse (2011), to which has now been added Menus-plaisirs – Les Troisgros , a dive into the great triple-Michelin-starred restaurant, located in Roanne (Loire).
What interests Wiseman is precisely the way in which these places induce their own staging. The kitchen is no exception, and the filmmaker approaches it with the method we know for him, forged a long time ago: taking a “tour of the owner” without any other comment than suggestive editing and the long duration of the film. observation – the watch here reaching two hundred and forty minutes.
Menus-Plaisirs… is first and foremost valuable on a plastic level. In the attention that the camera pays to the products transformed under the influence of culinary techniques, something else is in fact at play: a grand ball of materials, a waltz of shapes, textures, colors, which the editing associates with a sense of rhythm proven, in a cut vein close to Boxing Gym (2010). Place par excellence of social ritual, Wiseman does not hesitate to also consider the restaurant as the equivalent of a theater. Ma. Mt.
“For your marriage”: misfortune sublimated by cinema
From an unhappy awareness of the world – argued by a litany of tragic experiences – what can we do in the cinema? A few masterpieces of melodrama answer the question. Oury Milshtein, who spent around forty years working as a production manager in this profession, decided, at the venerable age of 66, to tinker with his own in the first person, in a film that is all the more admirable that he gives justice to misfortune without an ounce of pathos. Lots of loss and mourning, four children who don’t make a family, a partner, Kate Berry, who walks out of the window.
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