In multiple scenes Menu, Mark Mylod, Food will be the focus. So much so that the sequences include the name of the dish that is presented on the screen and its list of ingredients. But it is not a matter of obviousness, but of a dangerous recombination of symbols. In that extraordinary tasting that ends up being something spookierfood has a deep meaning.
As well as the pleasures or memories it produces. Unsatisfied desires and the perception of threat. All on an elegant plate with exquisite portions. “Concept” food, as Margo (Anya Taylor Joy) calls it, is the only guest in a complex list of little coincidences that make up a group of diners.
Food, the art of conveying sensations through taste, becomes in the process of production a total idea. In a compressed idea of what satisfies us, fills us and, in the end, what gives us a moment of unforgettable – and unique – pleasure.
AT Menu, food is more than a pleasure, more than just an exercise in swallowing and suppressing the urge to hunger. It’s also the announcement of a tragedy, a powerful and well-thought-out construct about what’s hidden in modern obsession with status. What happens when privileges, huge fortunes, countless sins of greed become our letter of recommendation?
A juicy invitation to intimate darkness
Menu happens on the periphery of something more painful. Who are we, deprived of cunning, luxury and irritability? The story tells a little version of greed, the modern pursuit of the unattainable and indefinable. What is wealth in a culture obsessed with everything that money can buy? Perhaps for this reason, what distinguishes Hawthorne, an unusual enclave that promises an unrivaled menu, is its unattainable quality.
What more could the exclusivity that the modern world strives for demand? restaurant Menu it floats like an island space, ignoring the rules of the world. Or it seems to clear up the immediate message that, once in your living room, the doors are closed to the outside. There is a vicious feast behind it, waiting to be eaten and, at best, appreciated. But not all gourmets like it. In any case, not all visitors will understand the true message of this table set for a dark feast.
Only a select few will be able to sit at the table of the magnificent chef, the one and only Slovik (Ralph Fiennes) and enjoy his amazing creations. The table has become an object of desire, yet another place to win respect and cement the very category of sophistication. It doesn’t matter if the money comes from fame, fraud, theft or speculation.
Any of the diners Menu he has a dubious past, or is even capable of sacrificing his life to earn a piece of the art created by the master. What is really valuable is the right to sit in a chair, agreeing to the surprise of being covered, and showing off the possibility of a modicum of status.
AT Menufood is a deadly pleasure
Menu he plays with an elaborate series of ideas that he develops with precision and a mischievous sense of humor. A twisted conception of the modern self, a need for relevance and validation. But especially darkness next to the pain of unfulfilled longing. Mylod’s film is a cohesion of perceptions as varied and full of different textures as the exotic flavors the characters enjoy.
There is nothing easy in this journey, which begins with the decision to accept the performative norms of the central kitchen and ends with a state of life and death. What is the idea of good and evil in a world where they are confused with frightening frequency? Menu You don’t want to respond to something like that. But it is so. And, perhaps, his view of this consciousness of the corrupted collective Self is one of its most integral and well-constructed elements.
But apart from their philosophical research, Menu it is a film obsessed with subtle beauty and built on cold elegance. Food, food, this primary and collective need, is an exploration of pride, vanity and, especially, the supreme and total arrogance of an unfulfilled desire.
For your second leg Menu reveals its secrets but remains enigmatic and reveals a great narrative power, paired with an appeal to the old desire for refined decadence. Food is a means to an end. Older, more brutal, cruel and degrading than one would think. However, it is still the ultimate object of desire and the difference between life and death. Last bite, ultimate satisfaction, remembrance. death itself.
Who are we apart from our sins? MyLod asks again in the last minutes Menu. Beauty and horror unite to confront the eerie that awaits at the bottom of the accomplished threat. For a film, food is, without a doubt, a pleasure. A gift, a total donation. After all, a closed door to darkness. All on a juicy list, in which spilled blood is just one ingredient in a more sinister combination.