| The Chef's Letter |
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| In contrast to the chef, the sous-chef is easy-going and confident. When we first encounter the sous-chef, he saunters into the office, jacket unbuttoned, open demeanour. He finds small talk easy, moves in, The chef, having determined his plan, is now faced with the unfamiliar challenge of deciphering relationships amongst his kitchen staff. Much of the film is made up of looks, glances and glimpses, and their dialogue equivalences in half-utterances, half-heard. Glimpses and half-heard whispers all threaten to thwart his dream. contact: sybilhmair@yahoo.co.uk |
The Chef's Letter theme,
composed by Stephen Daltry
composed by Stephen Daltry
To play, permit or unblock "active content"
| Director’s notes Like my first film, Honey and Sting, this film is about how desire disrupts harmony. In The Chef’s Letter, a man’s well-ordered life as master of his domain is disrupted when he unexpectedly falls in love. He reacts in the only way he knows, planning the future in his head, presuming he can retain the control he is used to. For the chef, writing the letter is a deeply felt authentic act. He takes a long time over it so as to express himself precisely. He needs the structure of a letter to give his feelings shape and form -- for this man, writing the letter is the very act of expressing his love. Committing feelings to paper may crystallise them for him, but for the declaration to be consummated, the letter has to be read. Yet for a period of time, the letter goes into a state of abeyance represented by the no-man’s land of the pigeon-hole. |