
Gastronomy through the lens of cinema
An exploration of how gastronomy in cinema creates metaphors, shapes characters, and evokes emotions - offering valuable insights for hospitality and tourism professionals.
Since the dawn of humanity, art has always been an integral part of life. The various forms of art have enriched human existence, guiding the soul and mind toward goodness. Art, at times, does this through melodies, paintings, sculptures, or films, and sometimes through a dinner table that looks like a masterpiece. Gastronomic elements have found their place in different branches of art. In painting, notable examples that link to gastronomy include The Last Supper by Leonardo Da Vinci, The Feast of the Gods by Giovanni Bellini, Luncheon of the Boating Party by Pierre-Auguste Renoir, The Wedding at Cana by Paolo Veronese, and The Potato Eaters by Vincent van Gogh. It’s worth noting that still-life paintings, which depict inanimate objects, frequently feature gastronomic elements. A prime example that comes to mind is Still Life with Cheeses, Almonds and Pretzels by Floris van Dyck, displayed at the Rijksmuseum in Amsterdam.
In sculpture, a striking example is The Dinner Party by Judy Chicago, exhibited at the Brooklyn Museum. This piece, arranged as a triangular dinner table with intricate plates, napkins, and cutlery, is recognised as a feminist manifesto. Additionally, the symbolic use of grapes in sculpture cannot be overlooked. In literature, gastronomic elements also make appearances. Like Water for Chocolate by Laura Esquivel, The Elegance of the Hedgehog by Muriel Barbery, and Chocolat by Joanne Harris are notable examples.
Food and dining scenes in cinema
One of the art forms where food and dining scenes find their place is cinema. In this dramatic art form, which relies on the enactment of a predetermined story or script, food and dining tables frequently appear. Objects on dining tables in films are often used as metaphors or as monitors to reflect the characters, the era, or the living conditions portrayed in the scene.
So, what is conveyed through gastronomic elements in dining scenes, shaped by the choices of screenwriters and directors? For instance, while every dining scene includes a table, no two tables are alike. Depending on what the screenwriter or director seeks to emphasise, the dining table changes shape. A round table symbolises unity, while a rectangular table divides. A glossy table surface sends different messages about the characters, while a foldable table hints at entirely different clues.
Beyond the table's shape, the items on it are significant in dining scenes. For example, the amount or scarcity of food on the table provides different insights to the audience. Sometimes, the meaning or hidden messages in dining scenes are directly conveyed through the dining area itself—the objects used, who serves the food, or even the paintings on the walls. In summary, the dining area, table type, and food or drink on the table play a larger role in cinema than often assumed. Gastronomic elements are among the tools that help audiences understand the characters.
Seating and its implications
Does the seating arrangement around the dining table matter in the scenes you watch? What messages do the characters' seating positions convey? Here, the distance between the characters is crucial. Can it be said that characters seated at opposite ends of a long rectangular table share a close relationship? Certainly not. Conversely, characters seated together at one end of a long table convey their closeness to the audience.
When two characters sit across from each other, the scene often signifies more than emotional distance. Sitting directly opposite each other symbolises opposition, while characters seated side by side suggest an alliance. However, this alliance does not necessarily indicate resistance—it may sometimes represent unity in vulnerability or loneliness. Another important aspect of dining scenes is the sharing or lack of sharing of food and drink on the table. This detail provides significant hints about the relationships between the characters. Many family films feature a shared dish in the centre of the table, which is a metaphor in itself.
After covering these points, let us delve into notable dining scenes in cinema history and decode the meanings assigned to gastronomic elements. Dining scenes have a prominent place in cinema, and while a complete list would make for an endless article, I will decode my personal favourites and the specific uses of gastronomic elements in three categories.

The Spanish-Mexican co-production Pan’s Labyrinth (El Laberinto del Fauno) tells the story of a fantastical journey set in the aftermath of World War II. The film follows a 10-year-old girl, Ofelia, who discovers a labyrinth in the backyard of her new home. Escaping the harsh realities of life, she retreats into her imagination. The sequence of interest to us is the forbidden fruit scene. The labyrinth is guarded by a character named Pan, whom the director designed as a representation of the Church, inspired by the crucifixion of Christ.
In this scene, Ofelia finds a table laden with delicious food and drinks. The prominence of red-colored items on the table is particularly striking. Pan, sitting at the table, is asleep until Ofelia takes a single grape. Upon tasting the fruit, Pan awakens and begins pursuing her as punishment. This scene is loaded with symbolism: it critiques the authority that reserves all beauty and indulgence for itself and punishes those who dare partake. Here, gastronomic elements, with their mouthwatering visuals, invite the little girl to commit a "sin" within the system she inhabits.
By consuming the forbidden fruit in her imaginary world, Ofelia symbolically defies the rules, much like Eve eating the forbidden apple. The fruit she eats is a metaphor, skillfully integrated into this sequence.

The Anglo-American film Chocolat takes place in a traditional French village. Vianne Rocher and her daughter arrive in the village and decide to open a chocolate shop. The villagers are soon divided into two groups: those whose hidden desires are awakened and who discover the taste of freedom, and those who wish to maintain their lives unchanged.
In this film, food—specifically chocolate—represents temptation, belief, and self-acceptance. For those feeling suppressed, a piece of chocolate illuminates a path toward liberation. Chocolate becomes a medium through which individuals confront their desires, discard societal pressures, and embrace personal freedom. Thus, gastronomy serves as the primary element in this metaphor.
A similar application is seen in Eat, Pray, Love (2010), where the protagonist’s culinary experiences in various countries help her discover her true self. The iconic pizza scene in the film, where the character breaks free from her inhibitions, serves as a turning point. From these films, we see that gastronomy is a factor aiding self-discovery, boundary-breaking, and the pursuit of freedom.

In some films, gastronomic elements are used to define a character's identity. One of the best examples of this is Breakfast at Tiffany’s. The film depicts the transformation of Holly Golightly from a country girl to a city woman.
The opening scene, with Holly gazing at a jewelry store window, holding a coffee and croissant, clearly communicates her aspiration to become a sophisticated urban woman. Throughout the film, gastronomic elements symbolise perception, class, wealth, and longing, reaching the audience through Holly's choices.
A harsher example is seen in Quentin Tarantino’s Inglourious Basterds (2009). In one scene, Nazi Colonel Hans Landa uses gastronomic elements to exert psychological pressure on Shosanna, a Jewish woman. He orders a glass of milk, reminding her of the dairy farm where her family was killed, and later insists on cream for his strudel. As Shosanna is forced to eat, the act of consuming food becomes a source of tension, revealing how gastronomy can be weaponized to expose identity and vulnerability.
The connection between food and emotion is another aspect frequently utilised in cinema. Think about the romantic scenes in films—are the characters sipping wine, sharing dessert, or meeting at the end of a strand of spaghetti? Gastronomic elements are not limited to romantic moments; they are also employed to evoke various emotional states.
For instance, the 2007 animated film Ratatouille follows the journey of a rat named Remy who aspires to become a chef. The connection between food and emotion is brilliantly portrayed when a food critic is transported back to his childhood upon tasting Remy’s dish. This highlights how food can trigger nostalgia and deep emotional responses.
Similarly, in the 1999 movie The Matrix, a scene focuses on the emotional impact of food. Cypher, aware that the steak he is eating isn’t real, remarks that the sensation of pleasure it provides is very much real. The steak symbolizes the human desire to embrace illusion when it brings comfort. These films illustrate how gastronomic elements are intricately tied to human emotions.

In A Clockwork Orange, the use of milk stands out as a metaphorical element. While milk is typically associated with health, childhood, and innocence, its presence in an adult character’s life can signal the end of innocence. In the film, the main character and his gang visit a milk bar to drink before committing acts of violence. The milk serves as a symbol of their unsettling duality—beneath the guise of purity lies chaos and brutality. This is echoed in Inglourious Basterds, where milk consumption similarly disrupts notions of innocence.
Conclusion
In conclusion, the role of gastronomy in cinema can be categorised into three main functions: creating metaphors, providing insights into the characters' worlds, and enhancing the emotions within a sequence. One key takeaway is the significant space that gastronomy occupies in the art of cinema, often more extensive than initially perceived. For now, let us say, Vita brevis, ars longa (“Life is short, art is long”), and leave it at that—for there are still countless films to watch, exhibitions to visit, books to read, and meals to savor.
These cinematic depictions can inspire new ways to create memorable guest experiences, market culinary offerings, and develop storytelling techniques that resonate with guests. By exploring the intersection of gastronomy and cinema, industry professionals can gain a deeper appreciation for the power of food as both an art form and a means to evoke emotions and foster connections with guests.
About Ahmet Vatan
This perspective aligns closely with the academic journey of Ahmet Vatan, whose research spans diverse areas within the tourism and hospitality field. Over the years, Vatan has explored topics such as women in tourism, the interplay between tourism and art, and the relationship between tourism and religion, and his PhD thesis focusing on destination marketing.
Currently, his primary focus lies on sustainable tourism and the integration of robotics within the hospitality industry. A passionate storyteller (read more about this on his profile), Vatan draws inspiration from the cultural geography he has encountered through his work in tourism. He believes this multidimensional perspective enriches not only his research but also his ability to understand the profound connections between gastronomy, art, and the human experience.