“Did you eat yet?”
It's an all-too-common question — a greeting, a worry, a substitute for the words “I love you.” Food is incredibly personal. On one hand, it's a sign of affection, of family, of community; on the other, it sets apart cliques, the poor, the exotic. From lunch breaks to late-night snacks, food proves time and time again that it is more than just sustenance. It structures our very lives.
So we too welcome you to sit down and take a breather from your day-to-day. Nourish yourself. Feast your eyes. Today's menu includes ramen westerns (“Tampopo,” 1985) and fried chicken ponzi schemes (“Extreme Job,” 2019), irresistible dosa (“Salt N' Pepper,” 2011) and roast duck wars (“Chicken and Duck Talk,” 1988). Just make sure to grab a bite first… you'll thank us later after you get through this mouthwatering list!
1. Tampopo (Juzo Itami, 1985, Japan)
“Tampopo” is a very entertaining film about the necessity of enjoyment in our lives, a celebration of the art of cooking as well as cinema itself. Supported by a wonderful cast and an inventive script written by the director himself, “Tampopo” remains one of the best comedies from Japan which will surely be enjoyed by many generations of cinephiles to come. Just remember to keep quiet in the cinema and please don't crinkle with your snacks. (Rouven Linnarz)
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2. Complicity (Kei Chikaura, 2018, Japan)
The general tone, the style and the acting even justify some moments of sentimentality Chakaura occasionally goes for, blending them smoothly with seriousness of the topic and good measure in approach. “Complicity” might not be a spectacular film, but it is a good and well-measured one, with a potential side effect of getting hungry for a bowl of soba and some genuine humane emotion. (Marko Stojiljkovic)
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3. Dumplings (Fruit Chan, 2004, Hong Kong)
The feature edition of “Dumplings” extended a few erotic scenes, added another, and allowed the interaction of Aunt Mei and Mrs Li's husband, but the main comments remained as did the artistic value of the film. In that fashion, I feel that the short version does not have much to “be jealous of” and remains a great title by itself. (Panos Kotzathanasis)
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4. Dead Sushi (Noboru Iguchi, 2012, Japan)
While it does have a lot to like, the film has problems involved that are somewhat troublesome to get over. This one is really only inviting to fans of Iguchi's other films or fans of the underground Japanese splatter scene, while those that don't play into either fan-group are advised to steer completely clear. (Don Anelli)
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5. Eat Drink Man Woman (Ang Lee, 1994, Taiwan)
With “Eat Drink Man Woman” director Ang Lee has made a true masterpiece of the family drama, one which touches its viewer while also including scenes of much entertainment, humor and even sensual delight given the images of the presumably delicious dishes. (Rouven Linnarz)
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6. Ramen Shop (Eric Khoo, 2018, Singapore)
The invaluable consultations from chef Keisuke Takeda and Dr Leslie Tay help craft a world where the kitchen comes out on top, where the power food possesses is let loose whilst its well-directed human components have no choice but to give in to its pleasing succulence. Caring to the core it is impossible not to be swept up by the flavours coursing through its soul; it feeds the heart as much as it does the stomach. A perfect way to close [San Diego Asian Film Festival]. (James Cansdale-Cook)
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7. Jiro Dreams of Sushi (David Geib, 2013, Japan-themed)
Not only a very thorough portrait of the life and practice of one of the top sushi-chefs of all time, but also a great story that focuses on the relationship between a man and his family and particularly his elderly son, who emerges as a truly tragic figure. David Geib has truly captured the essence of both Jiro and Japan, in all their benefits and flaws. (Panos Kotzathanasis)
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8. 301/302 (Park Chul-soo, 1995, S. Korea)
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9. Ebola Syndrome (Herman Yau, 1996, Hong Kong)
Herman Yau directs a film so despicable that it eventually becomes funny, although in a highly unconventional fashion. The racist notions, the constant brutality, and the graphic depictions of hideous actions dominate most of the movie, while the main character is one of the most preposterously evil ever depicted on screen. (Panos Kotzathanasis)
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10. The Lunchbox (Ritesh Batra, 2013, India)
“The Lunchbox” is very enjoyable, light entertainment. Due to its presentation of the setting and its performances Ritesh Batra manages to make a more than solid drama with elements of romance and comedy, even though its final message fails to hit the mark. (Rouven Linnarz)
