The Taste Of Things – Review

Release Date – 14th February 2024, Cert – 12, Run-time – 2 hours 15 minutes, Director – Anh Hung Tran

Cook Eugenie (Juliette Binoche) has been working for gourmet Dodin (Benoit Magimel) for over 20 years, what will it take for the pair to make an official romantic relationship?

Not since Harley Quinn’s egg sandwich in Birds Of Prey has there been such tempting displays of food porn lavishly poured onto the big screen. The opening twenty minutes of The Taste Of Things are largely constructed of little more than various dishes being put together. Little is said between the four bodies in the kitchen as they focus on the recipes at hand for a range of dishes being prepared for later in the day. In fact, the occasional sound of cooking and utensils is about all we hear for ten minutes before dishes begin to be sampled while the cooks are still busy preparing later courses. While engaging, and a sensory treat, the true effect of this extended sequence is saved for later in the film when another key meal takes place.

Roles are reversed between cook Eugenie (Juliette Binoche) and gourmet Dodin (Benoit Magimel) with an overall different tone to the proceedings. The pair have been working together for over 20 years, and it’s made clear that there’s more within their relationship, however there’s not an official romance – despite Benoit having proposed over the years, something brought up in more casual requests as they sit together one evening after a long day of work (and eating). Professionally the pair are admired with culinary skills which would have Studio Ghibli seething with jealousy. Admired by internationally renowned chefs and princes the dish of the day is always fine food.

So much attention to detail floods the eyes and ears throughout. Eugenie says after the many courses of the opening meal that while she wasn’t with the diners she had an even greater experience having spent so much time with the ingredients, and the final creations. She was with every smell, taste and sound as they changed and developed over time, and indeed so were we. These ideas manage to subtly play into the relationship between Eugenie and Dodin as the film plays out. While uncomplex in its overall narrative the priority is how things come across and the ways in which themes and details can be conveyed. And they’re put across rather effectively, with a gentle and engaging manner.

The culinary arts act as a way of communication, particularly during the second extended meal which is packed with subtle emotion and a good deal of heart. Complimented by the sound design (particularly foley artistry by Olivier Thys) and cinematography (by Jonathan Ricquebourg) which perfectly capture the feelings of each individual scene or sequence, fleshing them out and providing more subtlety to the ways in which they convey themes and tone.

Particularly in the final 15-20 minutes where things begin to feel somewhat overlong the way in which cooking is leaned into in these particular moments provides interest, and a fitting round off to the relationship which has been observed in the, frequently described as, ‘autumn years’ of the pair’s lives. As we explore this, and the clear feelings between the pair – alongside the things and reasonings which aren’t always said or expressed between them – the slow pacing fits the film. The pacing is made clear in the opening stages as the quiet cooking process is allowed to speak volumes – before the dishes flood the screen to be met with wonder, and envy, from the viewers.

It’s these treats which represent the best of the film and get the most of it across. Where the themes and emotions are still contained, but in subtle ways which are injected into the mood of the process. The feelings which wash across the character’s faces as they prepare and eat personal meals. Yet, none of these sequences ever feel flashy or overindulgent, or as if they’re showing off. That’s where the real inviting key comes through, yes the characters know the food is great, it’s mentioned enough by supporting characters and fellow gourmets, but these mentions never feel as if they’re trying to force anything. As a whole the film feels unforced and again is allowed to gently tell its story, if in ever so slightly lengthy fashion. This is a film where it becomes its own language, understood from the first few minutes and having a good deal of effect as it takes form and further meaning over time.

The Taste Of Things allows the culinary arts to become its own language, excellently captured in sound and vision the dishes are immensely inviting and their preparation speaks loudly as they’re filled with emotion and personal meaning from the characters.