The Cook, The Thief, His Wife & Her Lover
Peter Greenaway,
1989,
124’
At an opulent gourmet restaurant, a woman carries on an affair with deadly consequences.
EN
“The film's concern with identity, system, and order verges on the obsessive. This concern is most obviously displayed in the quotations of paintings, which manifest Greenaway's interest in Renaissance perspective, framed space, and composition. William F. Van Wert, who identifies a number of these citations, argues that they indicate ‘a serious attempt on Greenaway's part to use cinema to discuss problems of perspective and depth in painting’.”
Ruth D. Johnston1
- 1Ruth D. Johnston, "The Staging of the Bourgeois Imaginary in The Cook, the Thief, His Wife, and Her Lover," Cinema Journal (2002).
