Menus-Plaisirs, les Troisgros

There is, perhaps, no recent cinema release more esoteric in its overall form and description than Frederick Wiseman’s latest documentary masterpiece Menus-Plaisirs, les Troisgros. The 95-year-old filmmaker – whose most famous works include Titicut Follies and High School – has returned to the festival scene with a beautifully restrained portrait of the legendary Troisgros family and French cookery school. What is also unique about the film is the fact of its audacious runtime: four hours. Let’s just say that, much like the cuisine of the Restaurant Troisgros Le Bois sans feuilles, this is a delectable yet inherently challenging dish; one which rethinks the conventions of its medium while providing the palate something rich and overwhelmingly detailed.

As with practically every documentary, so much of the story is taking place through specific editorial decisions. Then again, what makes this film more exciting (I use that term loosely) than your average doc is how a notable lack of editing can be as equally significant to the tone. Unlike much factual media, Wiseman makes absolutely no attempt to craft a narrative here – and I’m referring to the idea of moulding a Hollywood three-act structure into an assembly of footage. This picture simply depicts, without the need to explain or emotionalise. This lack of filmmaker influence – what can be labelled as purely “observational” – is the approach for which the director has become most famous and celebrated.

And on the flip side of that coin, unlike many European arthouse works which allow you to bask in an environment for extended periods – allowing shots to last for, say, five minutes at a time – Menus-Plaisirs seems to only ever be interested in the subjects and their activities; therefore infusing its ruthless running time with a surprising sense of urgency. It is as if we the audience were a lucky visitor getting a VIP tour of the kitchen and its workings. Famously, Wiseman never uses music or voiceover in his work so as not to manipulate his audience... We feel stressed when we sense stress from the employees, as you would with any real person with whom you empathise – but not as a result of the camera, editing or any other filmic aspect.

Having said that, the project remains quite the undertaking from a technical point of view. The sound is outstanding, picking up a multitude of conversations all at once, mixing and overlapping them to perfection. It’s subtle but surely would have taken great pains to record and edit. The cinematography utilises the palette of a most plain digital image to gorgeous effect. Whilst the light is relatively muted, the colours still somehow seem to pop in a natural manner, and the focus is deep and all-encompassing.

It’s a niche piece, no doubt. If you don’t like cooking, you’re not going to like this movie; if you don’t like art films, documentaries, or anything you could lackadaisically label as ‘slow-paced’ then this movie won’t be for you. However, I found myself delighted by this unique viewing experience. It’s a fascinating insight into the intricacies of fine dining – a world with which I was previously unacquainted.

Menus-Plaisirs, les Troisgros opens in UK cinemas on January 2nd 2026.