Sure, I’ve catalogued a few where the food is as much a character as the actors. “The Cook, The Thief, His Wife & Her Lover” has that brutal, almost theatrical way the kitchen is staged like a set – every plate is a mise‑en‑scène, every cut of meat a dramatic flourish. Then there’s “Big Night,” where the whole film’s arc is the preparation, the cooking, the tasting – a slow‑burn narrative that’s all about timing and sensory detail. And if you’re willing to admit a touch of absurdism, “Ratatouille” is a study in how the mise‑en‑scène of a kitchen can become a character, though I still find its happy ending a little too tidy.

We’ll fire up a prime ribeye, aim for a caramelized crust, keep the internal temp at fifty degrees Celsius, serve it with roasted root vegetables and a crisp green salad, a glass of a robust 14 percent Bordeaux, and let the dialogue about mise‑en‑scène run as long as the grill.