Delicious with Grégory Gadebois and Isabelle Carré: “The feminist aspect of the film really appealed to me …

Delicious with grégory gadebois and isabelle carré: "the feminist aspect of the film really appealed to me...

Grégory Gadebois and Isabelle Carré revolutionize French gastronomy in Délicieux. Meet the two actors who form a duo of amazing cooks in this feature film by Eric Besnard.

Délicieux takes us to the dawn of the French Revolution. We follow Pierre Manceron, a daring but proud cook, camped by Grégory Gadebois. The latter was dismissed by his master the Duke of Chamfort.

He then meets an astonishing woman, Louise (Isabelle Carré), who wishes to learn the culinary art by his side. She gives him confidence in him and pushes him to free himself from his condition as a servant to undertake his own revolution. Together, they will invent a place of pleasure and sharing open to all: the first restaurant. An idea that will earn them customers… and enemies.

To discuss this beautiful film about French gastronomy, AlloCiné met the actors Grégory Gadebois and Isabelle Carré. In the video above, they talk with passion about the filming of the film under the direction of Eric Besnard. The discussion then continues in the article below.

AlloCiné: Does wearing the character’s costumes help you get into his skin?

Isabelle Square : It always makes me laugh when an actor says: “I put on the character’s shoes and suddenly I found the whole character”. Grégory feels that a little.

Gregory Gadebois : I find that the costume is important, a mover does not dress like an accountant. The costumes tell something. And those from Délicieux tell the story of how these people lived. It speaks of an era and it helps to slip into that era.

If I put you in a corset for 10 hours a day for 2 months, I can tell you that it transforms the body.

Isabelle : As I was in a corset, I had a really physical relationship to the costume, and less aesthetic. If I put you in a corset for 10 hours a day for 2 months, I can tell you that it transforms the body. It constrains a lot, and like my character, Louise, was not like the noble women who wore this at the time, that is to say on sofas …

She moves a lot, she has to prove herself in front of Manceron who manhandles her, who does not spare her in any case … So wearing this costume was physical. And I understood where we came from, us women. It’s not just moral constraints, it was a cover-up. We were immobilized. We have come a long way, we have to have lived it in our flesh to understand it.

Louise is also a character who breaks the codes, the film has a feminist dimension.

Isabelle : I really liked the feminist aspect of the film because women were not allowed to cook anything other than soup. There, this woman asks to learn at the age she has! Manceron tells him “But haven’t you seen your age?” I find it really nice that a director like Eric Besnard, that a man writes such a beautiful character of a woman of my age with all its facets corresponding to the 3 jobs of the time.

But these jobs also continue: the maid, the ingenue, the whore and the noble. That a man wrote a woman who contains a bit of all that, which is not a single facet well cliché, it’s great. I was very moved when I read the script to find out.

I really liked the feminist aspect of the film because women were not allowed to cook anything other than soup.

How do we appropriate a way of speaking that is not of our time?

Gregory : There is always a way to go towards words. So obviously it’s easier to say “Oh damn I’m tired” but it says “My God, I’m tired”. So we have to find the way to those words.

Isabelle : There is also something that has helped us all, it is the theater. It’s not for nothing that Eric Besnard took actors who came from there. We’re more used to using a slightly more sophisticated language in the theater. In the end, we have to bring these words to life, even if they are from another era, even if they are more literary.

How do you see the health crisis which has had a strong impact on our lives, in particular the long closure of cinemas and restaurants?

Isabelle : It is true that this virus has diverted us from the culinary art, which is precisely the main theme of Délicieux. And I agree with Eric Besnard when he talks about it during the screenings we do across France. Go out ! Go to the others.

It is not for nothing that cinemas, theaters and restaurants were closed at the same time, they are 3 places of communion. We need it.

It is not for nothing that cinemas, theaters and restaurants were closed at the same time, they are 3 places of communion. We need it. It’s easy to stay behind your platform and order food at home on Deliveroo or Uber Eats. But it is so much more than going out to meet others, going out, looking elsewhere.

FRAMEWORK: ARTHUR TOURNERET

EDIT: CLARA COLIN

THE TEASER

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