This week’s PIAF film, Germany’s Eden, can’t quite decide what it wants to achieve. Upon opening, the film shifts from lingering images of succulent produce to confronting close ups of bloody carcasses, as if foreshadowing a richly symbolic and thought-provoking contradictory narrative to come. It then proceeds with a Freudian-fuelled back-track through the childhood of now-famous celebrity chef Gregor (Josef Ostendorf), implying the beginnings of a psychological study as we learn about the way in which he fetishises his food. Next up, from the moment that Gregor’s path crosses that of the beautiful waitress Eden (Germany’s MTV darling, Charlotte Roche), the film’s tone shifts once more. As Gregor’s cooking awakens something in Eden, and Eden awakens something in Gregor, what we witness from there on in is actually nothing more than a fairly superficial account of their relationship. Particularly when it comes to Gregor, there is very little incite into what he is actually thinking about the turn of events. And then brace yourself, because the film packs a punch with its unexpectedly outrageous, absurdist ending.
And much as the film can’t settle on a single tone, this reviewer similarly can’t settle on a decisive opinion. While it would be easy to dismiss Eden for its inconsistency, there’s a certain quality to the film that can’t be ignored. In remaining solely on the surface of this relationship, writer/director Michael Hofmann teases and intrigues his audience. In briefly delving into symbolic allusions, he charms his viewers with the promise of something beneath the surface, even if it that ‘something’ is just beyond our reach. So, while Eden may be frustrating, and while it may lack the kind of visually clear cues that we’ve come to expect from food-focused narratives like Chocolat (I’m talking about those slow, seductive images of the most delicious food imaginable – with no bloody carcasses in sight), there’s a beauty to be found in that absence. It’s much like watching a cooking show – you’ll see all the ingredients in front of you, but it will be up to you to decide whether or not that’s as satisfying as actually eating a meal. And it’s also worth noting that at least there’s a side dish of endearing performances and interesting dialogue to make it all just a little easier.
Rating: 7.6
