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The current selection of movies and shows centered around cuisine is focused on conflict and turmoil – depicting kitchens as war zones, and dishes created in the midst of heated arguments. However, the new French film The Taste of Things takes a different approach compared to The Bear or Boiling Point. Vietnamese-born director Tran Anh Hung presents a more subdued atmosphere in this film, which is a beautiful tribute to the art of cooking, reminiscent of beloved gourmet films such as Babette’s Feast or Eat Drink Man Woman.
In the 1880s, the movie, which earned Tran the top director prize at Cannes in the previous year, explores the connection between chef Eugénie (played by Juliette Binoche) and her sophisticated boss and romantic partner Dodin (portrayed by Benoît Magimel). However, Tran states that the film’s main theme is creativity. “I aimed to create a film about art and I selected cuisine as my medium, as it is a tangible form of art. To me, cinema should be a highly sensory and corporeal experience.”
During his Zoom call from Ho Chi Minh City, Tran discusses a film where the characters not only enjoy eating, but also take great care in the way they handle their food, such as fish, poultry, celeriac, and pastry. In beautifully choreographed scenes, Binoche and Magimel can be seen preparing intricate dishes in real-time. According to Tran, it was a simple process because he would just give them ingredients and they would immediately take pleasure in transforming them into something delicious.
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The essence of French culture is evident in The Taste of Things – it was even selected as France’s submission for the Oscars, though it did not make the final cut. This is because Tran’s goal was to create a film about the significance of food in the country he moved to at the age of 12. In France, a meal is more than just nourishment – it is a time for people to come together and discuss not only food, but also their culture. In contrast, in Vietnam, conversations around the table are not as common. However, in France, it is common to see parents asking their children about their recent readings.
Tran also highlights the structured and official history of French cuisine. She explains, “They defined everything – from table settings to the number of glasses and forks.” This is why Dodin is referred to as “the Napoleon of the culinary arts” in the film – he establishes and organizes culinary protocols. In this sense, he is similar to Auguste Escoffier, who standardized modern French cuisine in his 1903 book Le Guide Culinaire. Tran adds, “Before this, it was quite chaotic. Nowadays, we know that a recipe calls for specific measurements, but back then, it was more like a poem and you had to interpret it.”
Together with Escoffier, Tran researched Brillat-Savarin’s 1825 book, The Physiology of Taste, which delves into the intersection of food and philosophy. He enlisted Michelin three-star chef Pierre Gagnaire as a consultant for the film. However, Tran himself has limited cooking experience and only recently started experimenting in the kitchen after making the movie, focusing on French cuisine. He explains, “French cooking is less complex. In Vietnamese cuisine, you have to prepare multiple dishes to make a complete meal.”
The unique combination of Binoche and Magimel is the defining element in The Taste of Things. Despite being a former couple, they had not worked together since 1999. This results in a genuine tenderness and admiration between their characters, who have a long history together. Tran reveals that Binoche initially had doubts about the pairing’s success and Magimel’s willingness to take on the role, but the outcome was flawless. According to Tran, Magimel’s vulnerable side shines through in his scenes with Binoche’s strong character, Eugénie aka Juliette. Tran’s favorite moment between the two involves them sharing an omelette, where Binoche subtly expresses her love for Magimel in a way that he cannot fully comprehend. The scene is beautifully ambiguous and holds a special place in Tran’s heart.
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The latest film from this director may appear to be a departure from his previous works, which were focused on Vietnamese dramas. However, it still aligns with his debut film, The Scent of Green Papaya, which takes place in 1950s and 60s Saigon and follows a young servant who finds beauty in her surroundings, including food. While this film received criticism for glorifying a woman’s life in servitude, the poetic elements of the film subvert this interpretation. In The Taste of Things, some critics have also taken issue with the theme of a woman cooking for her lover and his male friends. On the other hand, we also witness Dodin cooking for Eugénie with devotion and admiration for her artistic abilities. According to Tran, it is Eugénie who determines the dynamics of their relationship.
Tran grew up in Laos, the son of parents who made uniforms for the French army; the family moved to France when it became clear that Vietnam and Laos would be taken over by the communists in 1975. In Paris, he studied cinematography before making The Scent of Green Papaya, recreating old Saigon on a French studio set. That film and At the Height of Summer, about three sisters in modern Hanoi, established his reputation as a meticulous screen poet – but in between, Cyclo was an intense, violent drama about street life in Ho Chi Minh City, based on what Tran saw on returning to Vietnam in the early 90s.
Tran’s first four films featured his wife, Tran Nu Yen Khe, who was a captivating presence in 90s art cinema. She now works with him behind the scenes and serves as the art director for The Taste of Things. The couple, who have a son and daughter in their twenties, are currently in Ho Chi Minh City for an exhibition showcasing Yen Khe’s paintings and sculptures. Tran credits his wife for the beauty seen in his movies, stating that she is always by his side, checking everything behind the camera. He fondly remembers meeting her in Paris while casting a short film, feeling as though he had discovered Vietnam. He recalls a moment where he felt as though an ancestor had guided him to her, saying, “You know, she’s the right person.” When asked if The Taste of Things reflects their own relationship, Tran confirms this, adding that it is quite obvious. Although I cannot see him, I can imagine he is smiling.
Through The Taste of Things, Tran appears to have transformed into a highly French filmmaker. Binoche explains, “This doesn’t mean he has abandoned his Vietnamese roots, but he has a strong love for French refinement – it’s an integral part of his sensibility. There are various ways to embody French culture, but he has found the most sophisticated approach.”
Currently, Tran is happy to be back in Vietnam. He finds it a peaceful place to unwind, as the hot weather allows him to relax without feeling tense like he would in a colder country. In contrast, Paris makes him feel physically tense. His upcoming projects are once again focused on Asian culture, including a Vietnamese all-female drama and a biopic about Buddha. These projects align with Tran’s preference for meticulous aesthetics. He believes that modern movies are too focused on plot and themes, neglecting the visual language of cinema. He values the concept of “less is more,” aiming to convey deep meanings through small details. This approach captures the essence and flavor of life.
Source: theguardian.com
