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      ‘Menus-Plaisirs — Les Troisgros’ Review: A Beautiful Collaboration

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      For his 44th documentary, Frederick Wiseman journeys to the French countryside to examine the workings of a family-owned, Michelin-starred restaurant.Frederick Wiseman’s transporting documentary “Menus-Plaisirs — Les Troisgros,” centers on a dynasty of French chefs who live and work in a pastoral region in central France named Ouches, some 65 miles west of Lyon. There, amid rolling green hills and under the canopy of a century-old oak, the Troisgros family has a celebrated restaurant whose beginnings date back to 1930. The current paterfamilias, Michel, who’s in his mid-60s, has been cooking his whole life, and while you could say he makes food, it feels more like an expression of love.Making food sounds too pedestrian for the meticulously prepared, strikingly plated dishes that come out of the kitchen at their restaurant, Le Bois Sans Feuilles (The Woods Without Leaves), and certainly this is cooking on a rarefied level. It has long been acclaimed, receiving its first Michelin star in 1956 and holding on to its third since 1968. (It’s gone through several iterations and name changes.) Michel’s father and uncle, Pierre and Jean, were widely considered to be nouvelle cuisine pioneers, emblematized by a famous salmon and sorrel dish they invented. The chef Daniel Boulud includes the Troisgros salmon recipe in several of his cookbooks.“Menus-Plaisirs” is Wiseman’s 44th documentary and the first that he’s made since “City Hall” (2020), which notionally focuses on the administration building for the city of Boston. (In between “City Hall” and “Menus-Plaisirs,” he made one of his rare forays into fiction, “A Couple,” about Sophia Tolstoy.) Wiseman’s great subject is institutions, though more rightly the tension between organizations — with their spaces, norms and rituals — and the people moving through them. The bluntly descriptive titles of his movies are an authorial signature (“Hospital,” “High School,” “Boxing Gym”) and suggestively and purposely generic; one of the profound satisfactions of his work is seeing how he turns the general into the specific.Wiseman directed, edited and served as one of the producers on “Menus-Plaisirs,” which runs a heroic four hours (about a half-hour shorter than “City Hall”!). It’s absorbing from start to finish. Much of it takes place inside the bright, nature-inspired Le Bois Sans Feuilles, which is part of a larger complex set in a mid-19th-century estate that the family restored a few years back and includes a boutique hotel overseen by Michel’s wife, Marie-Pierre. Wiseman also pops into another Troisgros restaurant, Le Central, in the neighboring city of Roanne, making a more leisurely visit to a third, the nearby La Colline du Colombier, which is in the countryside.Wiseman’s approach is analytical and dialectical, and only seemingly straightforward. As is customary with his movies, “Menus-Plaisirs” doesn’t have music, voice-over narration, onscreen descriptive text, chapter titles or any other standard hand-holding. Wiseman instead uses images of specific physical spaces — the movie opens on the Roanne railway station and then cuts to its bustling, sumptuously stocked farmer’s market — that immediately establish a strong sense of place. In other words, he grounds you in the world of the movie and then, face by face, shot by shot, scene by scene, steadily fills in its details.The movie is arranged in distinct sections that suggest the rhythms of running a restaurant. The inaugural segment (call it Prep) introduces Michel and his sons: César, who cooks alongside his father and some dozen others at Le Bois Sans Feuilles, and the younger Léo, the chef for La Colline du Colombier. The sons run into each other at the market, where they’re hunting and pecking among the perfectly arranged leafy greens, bouquets of beets and radishes, and astonishing clusters of oyster mushrooms. In this section, the sons also meet with Michel to discuss menu options, and then the movie shifts to Le Bois Sans Feuilles.It’s there in this restaurant’s spacious, quietly humming open kitchen that the movie begins to gather momentum as Wiseman moves about focusing on one and then another station: One chef expertly filets a large salmon while another trims and butchers some ribs. Elsewhere, Michel and a sommelier discuss some outrageously priced Burgundies, and a brigade of servers ready themselves for the fast-approaching service. “Menus-Plaisirs” has all the virtues of a Wiseman movie, but its focus on beautiful food that’s prepared and served with equal beauty makes it especially seductive, even if you’re not keen on everything on the menu. I now know, for instance, more than I ever cared to about cooking veal brains.Once the customers arrive (call this section Service), the rhythms of the kitchen appreciably accelerate. Anyone who’s ever watched great cooks in action (in life or on TV) knows how enjoyable, even hypnotic it can be watching people with superb craft and technique at work, transforming the ordinary into the extraordinary. Wiseman is sensitive to the sights and sounds of kitchens, including the tempos of chopping knives and the syncopated hiss and burble of pots on a hot stove. He also underscores the hard work on an individual level and when the chefs are in the flow together. These kitchens thrum with quiet intensity, not ego.As “Menus-Plaisirs” continues, its focus widens as the chefs meet with some of their providers — at a small cattle farm, a vineyard, a cheese cave — where the mutual respect is palpable and the talk is sincere and often turns to sustainability. Each of these interludes could be spun off into a separate documentary, but together they expand the prismatic portrait of a family for whom cooking is an aesthetic, a passion, an expression of love, an ethic. There’s individual genius in the Troisgros kitchens, no doubt, but also enormous collaborative effort, which makes the documentary a nice metaphor for filmmaking itself. “Everything is beautiful,” a visibly moved Michel says of his estate; the same holds true of this deeply pleasurable movie.Menus-Plaisirs — Les TroisgrosNot rated. In French, with subtitles. Running time: 4 hours. 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      Napoleon Didn’t Really Shoot Cannons at Egypt’s Pyramids

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      But scholars say that a trailer for Ridley Scott’s new film draws attention to the French emperor’s complex and lasting legacy on the study of Egypt’s cultural heritage.As Ridley Scott’s “Napoleon” opens for Thanksgiving holiday viewing, scenes from the film’s trailers are making waves. That was especially true of a sensational depiction of French troops led by Joaquin Phoenix as the French emperor firing cannons at the pyramids of Giza.“I don’t know if he did that,” Mr. Scott told The Times of London. “But it was a fast way of saying he took Egypt.”There is no evidence that French invaders launched artillery at the pyramids, or that Napoleon’s troops shot the nose off the Sphinx, another piece of popular apocrypha (evidence suggests that the nose was chiseled off centuries before Napoleon’s time).“From what we know, Napoleon held the Sphinx and the pyramids in high esteem and used them as a means of urging his troops to greater glory,” said Salima Ikram, a professor of Egyptology at the American University in Cairo. “He definitely did not take pot shots at them.”While creative license is expected in Hollywood biopics, Mr. Scott’s cinematic choices prompted memes, discussion and lighthearted dunking, including riffs about Napoleon battling mummies.Some historians have criticized Mr. Scott, but many hope “Napoleon” will generate interest in the events that inspired the film. And while Napoleon didn’t literally hurl projectiles at the pyramids, his invasion of Egypt had a profound effect on Egyptian cultural heritage and how the world understands it today.“Ultimately, the campaign is a defeat — the French lose and get kicked out,” said Alexander Mikaberidze, a professor at Louisiana State University in Shreveport who specializes in Napoleonic history. But Napoleon’s invasion also resulted in a complex scientific and cultural legacy, he added: “the beginning of Egyptology, the beginning of this fascination with Egypt and the desire to explore Egyptian history and Egyptian culture.”The title page of the the multivolume publication Napoleon commissioned upon his return from Egypt.James Smith Noel Collection/Louisiana State University at ShreveportA drawing by Dominique Vivant, later Baron Denon, who accompanied Napoleon on the Egyptian campaign, of French scholars measuring the Sphinx.James Smith Noel Collection/Louisiana State University at ShreveportThe French campaign in Egypt from 1798 to 1801 was driven by Napoleon’s colonial ambitions and a desire to stymie British influence. But in addition to amassing an army of some 50,000 men, Napoleon made the unusual decision to invite more than 160 scholars — in fields like botany, geology, the humanities and others — to accompany the invasion.The scholars documented the cultural and natural landscapes of Egypt, which they eventually compiled into a seminal 1809 publication that contained detailed entries about the Giza pyramid complex. This is one reason historians know that Napoleon visited the pyramids, as shown in Mr. Scott’s film, though it is unlikely he regarded the structures as military targets.“There was a real interest on the part of the scholars and, I think by extension, a real interest by Napoleon to be able to understand these things that Europeans hadn’t really had unfettered access to since the classical period,” said Andrew Bednarski, a visiting scholar at the American University in Cairo who specializes in Egyptology and 19th-century history.In their effort to document Egypt’s vast archaeological heritage, the French scholars seized many important artifacts, including the Rosetta Stone, a rock inscribed with three languages that proved instrumental in deciphering ancient Egyptian hieroglyphs. The stone and many other spoils ended up in British hands after the French hold on Egypt collapsed in 1801. By then, Napoleon had returned to France.Following the failed campaign, word of Egypt’s cultural wonders spread across Europe and powered a new wave of global Egyptomania. This insatiable appetite for Egyptian antiquities has resulted in centuries of exploration, excavation and exploitation of the region’s vast material culture. Since Napoleon’s invasion, countless artifacts have been removed from Egypt by prospectors and traders, many through clandestine and outright criminal channels.The Rosetta Stone, on view at the British Museum in London, was one of the spoils of Napoleon’s Egypt campaign.Tom Jamieson for The New York TimesThe Nefertiti bust, found in Egypt by German archaeologists in 1912.Michael Sohn/Agence France-Presse — Getty ImagesAs a result, many of Egypt’s greatest treasures, including the Rosetta Stone and the bust of Nefertiti, are in museums and private collections far from home. Egypt’s antiquities community has been working for years to repatriate as many artifacts as possible, with some success, while also developing new strategies to protect its cultural legacy within the nation’s borders.“There are more site management plans, an increase in museums and an upsurge in media coverage of antiquities, which is geared not only to attract tourists but also to fostering national pride and educating the general Egyptian public as to the significance of their heritage,” Dr. Ikram said.Egypt has also been confronting a resurgence of looting in recent years as a result of domestic instabilities. The Antiquities Coalition, a U.S.-based nonprofit, estimated that following the 2011 revolution, about $3 billion worth of relics had been illegally smuggled out of Egypt. The Institute of Egypt, a research center that Napoleon established in Cairo during his invasion, burned down in 2011 during the tumult of the Arab Spring. Erosive forces such as pollution and the effects of climate change, including extreme weather, pose another threat to Egypt’s monuments and artifacts.Napoleon’s ill-fated campaign ignited the modern demand for Egyptian antiquities that still rages today. Mr. Scott’s vision of Napoleon shooting cannons at the pyramids of Giza is just a continuation of this longstanding impulse to co-opt Egyptian symbols and market them to a new audience. Many experts have decried the inaccuracies in the film — prompting an expletive-laden response from Mr. Scott. But some see in “Napoleon” the opportunity to revisit the polarizing French emperor’s lasting effects on the world.“Anything that might spark people’s interest in the history of Egyptology, the effects of colonialism around the world, the Enlightenment — any of those things — I think is only positive,” Dr. Bednarski said. More

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      ‘Monster’ Review: Uncovering a Mother-Son Japanese Mystery

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      This drama from Hirokazu Kore-eda traces a series of events from the perspectives of a single mother, her preteen son and his fifth-grade teacher.The stretch of time that unfurls in the sublime Japanese drama “Monster” begins with a fire and ends during a monsoon. These elemental disasters, and a fragile cluster of events that fall between them, are viewed from the perspectives of three characters entwined in a messy struggle for understanding: a boy, a mother and a teacher.Directed by Hirokazu Kore-eda (“Broker,” “Shoplifters”) and written by Yuji Sakamoto, “Monster” opens as Minato (Soya Kurokawa), a sensitive preteen, begins fifth grade. His single mom, Saori (Sakura Ando), grows concerned when Minato comes home distressed and with injuries. She soon casts blame on his teacher, Hori (Eita Nagayama), who is fired over the accusation.A master of family affairs, Kore-eda directs with a discerning but delicate style, and “Monster,” with its triptych structure, initially feels more schematic than is typical of his works. There is a deep pleasure, though, in marrying this screenplay’s layered form with Kore-eda’s sensitivity and low-key naturalism. While the film’s first segment gestures at science fiction — Minato insists his brain was replaced with a pig’s — the second seamlessly pivots into something Kafkaesque. That’s all before Minato’s point of view excavates the story’s essential truths.Lovingly detailed and accented by an aching score from Ryuichi Sakamoto, who died in March, “Monster” is one of the finest films of the year, and its structure — like its circle of characters — carries secrets that can only be unraveled through patience and empathy. Put a different way: It’s easy to call someone a monster before you squelch a muddy mile in their shoes.MonsterRated PG-13. In Japanese, with subtitles. Running time: 2 hours 6 minutes. In theaters. More

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      ‘Cypher’ Review: Tierra Whack in a Twisty Music Documentary

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      A biographical look at the Philadelphia rapper Tierra Whack takes a hard left turn.“Cypher” is a fakeout film disguised as a real music documentary. For a while, you believe it will chronicle the rapper Tierra Whack’s rise, from teenage Philadelphia poet to Grammy-nominated hip-hop artist whose fans include Cardi B and Billie Eilish.As the film eases you in with a cushy setup, Whack jokes that it could be completely derailed, ending in jaw-dropping fashion — which it does. “You could die, I could die and then we can’t shoot anymore,” she says, amusing even the director, Chris Moukarbel. Then things get weird. When Whack and her crew wind down at a late-night diner after a Chicago concert, she meets a fan desperate for her to watch a video that you know she shouldn’t watch. Afterward, she is still the real Whack, but in a very different movie. Adding to the sinister shift, she spots an ominous radio on the set of Beyoncé’s “Black Is King” film (Whack, who has a cameo, was actually there).A cunning experiment in cross-genre filmmaking, “Cypher” is all fun, games and hagiography until it’s not, effectively deceiving at every conspiratorial turn. The less you know about how this meta spine-chiller comments on the dark side of celebrity surveillance, the greater the thrill of discovering the “real or not?” events as they come. I’ll say this much: When “Cypher” stops masquerading as a sincere artist bio and ends up where you never thought it would, the film certainly gives new meaning to “behind-the-scenes access.”CypherRated R. A few expletives. Running time: 1 hour 21 minutes. Watch on Hulu. More

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      Watch a Thanksgiving Day Tirade in ‘Maestro’

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      The director Bradley Cooper discusses a one-shot scene involving an argument between conductor Leonard Bernstein (played by Cooper) and his wife (Carey Mulligan).In “Anatomy of a Scene,” we ask directors to reveal the secrets that go into making key scenes in their movies. See new episodes in the series on Fridays. You can also watch our collection of more than 150 videos on YouTube and subscribe to our YouTube channel.A couple reaches a heated turning point in this sequence from the biopic “Maestro,” directed and co-written by Bradley Cooper, who stars as the conductor Leonard Bernstein.The scene takes place on Thanksgiving Day in the New York apartment of Leonard and his wife, the actress Felicia Montealegre (Carey Mulligan). Soon after Leonard enters the room, Felicia’s criticism begins. As the moment progresses, her verbal attacks increase in ferocity and speed in a way that contrasts with the relaxed pace of the Thanksgiving Day Parade floats passing just outside the couple’s windows.“It is the scene of the film in many ways,” Cooper said in an interview. “The whole film builds to this scene and then the aftermath of it.”Felicia realizes that the compromises she has made in their relationship have eroded her emotional state and she can no longer contain her anger. Cooper said he had envisioned the sequence in one take and knew it needed to be shot that way. But he did have concerns. “My fear was that we wouldn’t be able to maintain this frame for the entire scene. But because Carey Mulligan is such an assassin actor, it was effortless.”Sign up for the Movies Update newsletter and get a roundup of reviews, news, Critics’ Picks and more. More

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      Hallmark Christmas Movies Are Falling for Europe

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      More and more of the cozy Christmas movies on Hallmark and Lifetime are set on the continent. But onscreen, it’s a Europe doused in holiday magic.Christmas is magical. Christmas is inescapable.And, according to an increasing number of holiday movies, it’s in Europe.Browse Hallmark and Lifetime’s channels, and you will find a Christmas in Rome. In Vienna. In Switzerland. In Scotland. In Notting Hill. We’re having a Belgian Chocolate Christmas. A jolly good Christmas. A merry Scottish Christmas and even a merry Swissmas. You can enjoy a Heidelberg holiday and a Joyeux Noel (that one’s in France).Europe, with its cobblestoned streets (a nightmare in heels), old buildings (no central heating) and Christmas markets (those can be as good as they look onscreen), provides the perfect setting for a magical holiday adventure.“Hallmark fans get to experience these incredible destinations through the eyes of our character,” said Ali Liebert, the director of one of the network’s 2023 offerings, “Christmas in Notting Hill.”In many of these films, an American girl is undervalued at her big city job. She leaves the city and finds a rugged local, who embodies all the wholesome values of a small town. Sometimes her love interest is a widower. Sometimes he has an adorable child, or he may have a dog. (If he lives in Scotland, the dog’s name may be Hamish.)In Netflix’s 2021 film “A Castle for Christmas,” a best-selling author (Brooke Shields) ends up in a Scottish village and falls for a local duke (Cary Elwes).Mark Mainz/NetflixCertain European spots have been deemed more appropriately Christmassy than others. (We’re yet to see “My Barcelona Christmas,” despite the December temperatures there being pretty similar to London.) In these films, Europe is awash with eligible princes from royal families presiding over countries with names like Aldovia or Cordinia, which you would be hard pressed to find on a map.And for those holiday movie fans expecting a white Christmas in England, it’s more likely you’ll get a drizzly one. The last time Britain saw a festive blanketing of snow for the holiday, the way Charles Dickens intended, was in 2010.But none of that matters. Christmas movies let you vicariously live your best European Christmas, which may be significantly better than the holidays experienced by actual Europeans.And as far as snow goes — there are visual effects for that.Hallmark is releasing 42 new holiday movies this year, with a catalog of many more, and shooting some in European locations “gives us more cultural traditions to dig into,” said Lisa Hamilton Daly, the head of programming at Hallmark Media. “Our audiences love to travel with us.”In “Christmas in Rome,” an American tour guide (Lacey Chabert) meets a business executive (Sam Page). Stefano Montesi/Crown Media United States LLCDaly is already looking ahead to next year’s Christmas, she said, adding that Hallmark crews will probably be returning to Europe for the network’s 2024 holiday movie slate.And for viewers, getting to Europe — whether it’s because of pandemic delays, high ticket prices or general travel stress during the holidays — has not gotten any easier.“U.S. audiences may not always be able to go to these exotic foreign lands,” said Dustin Rikert, the director of the new Hallmark film “A Merry Scottish Christmas,” which centers on estranged siblings in a castle in Scotland.American audiences seem to enjoy watching stories set in the beautiful Scottish countryside. In Netflix’s 2021 film “A Castle for Christmas,” a best-selling author (Brooke Shields) ends up in a Scottish village and falls in love with a local duke.In Lifetime’s 2020 film “Christmas at the Castle,” a big city girl is sent to the Scottish Highlands to find a rare fragrance. She, too, falls in love with a local.These stories and settings are pure escapism, according to David Lumsden and Toby Trueman, the director and an executive producer of “Christmas in Scotland,” a 2023 movie streaming on Plex and Xumo.Yes, “Merry Swissmas” is set in Switzerland.Lifetime“We never have white Christmases, it’s always a gray Christmas,” Trueman, who lives in Edinburgh, said. “This is not a realist film.”Lumsden has also directed other genres, including horror, and he has enjoyed the switch to holiday content. “My family rarely gets to see the stuff I do,” he said, because it’s “too scary for my niece or nephew.” Christmas movies, he added, can be watched by everyone.Movies set around the holidays have long been popular, and in the 2000s, festive romance films like “Love Actually” and “The Holiday” made big money at the box office, before joining films like “It’s a Wonderful Life” and “Home Alone” in the rotation of classic holiday movies.Over the past few years, Hallmark and Lifetime have bet big on cheesy, formulaic Christmas movies with a guaranteed happy ending, releasing dozens of new titles every year.These movies’ predictable and cozy nature fuels their popularity. “The formula exists for a very good reason,” Daly said. “It makes people happy.”In “Jolly Good Christmas,” a Christmas present brings Anji (Reshma Shetty) and David (Will Kemp) together in London.Rob Baker Ashton/Hallmark MediaAt the end of a Christmas movie, you know that the beautiful Scotsman (or Germanic prince or English soccer star) will end up with the ambitious American blonde (or brunette). They will kiss — and nothing else! Hands where I can see them! — at the exact moment soft snowflakes start falling.Our American heroine may even make a permanent move to that drafty old castle without modern amenities. But I digress. What happens after the credits roll is not important. More