Indeed the sister’s religious beliefs play such a pivotal role In their lives that Battle’s foreign cuisine (quails, a live turtle, wine) appears as a form of witchcraft to them because they have lived their life rejecting the pleasure of flesh. The sisters regard food’s objective as merely providing nourishment. They are shown eating plain foods such as soaked bread and coffee. Battle adopts their simple meals, but when the opportunity arises to prepare an exquisite dinner she takes it.
The food prepared by Battle literally transforms the congregation. Grudges are lifted, kindness is manifested and love is alive and well among the people after they eat. A theme present in the movie is the misunderstood purpose of the beauty of life. Both Martinet and Philippe have renounced love and lived a lonely life. The sisters struggle so hard to keep secular influence out of their lives that they misinterpret the loveliness of Battle’s meal. It is not until the meal has been consumed that Battle’s wonderful artistic expression is recognized.
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Battle’s feast s an expression of her appreciation and is a sacrificial act as she spends all of her lottery winnings on preparing a meal that fosters Joy and love. General Lorene’ statement rings true when he states that food can be like a love affair and spiritual affair as it brings the congregation to a plane of higher understanding. Color plays an important role in the production design. The town of Jutland Is shown In black, gray and brown tones and symbolizes the dullness of the place. However, when Battle is preparing her feast bright colors take over the screen as all the delicacies are shown.
In essence Battle’s food brings life to their nonexistent place. Repeating cold blue colors are portrayed In the sisters’ eyes, outfits, and houses. Warm colors become associated with Battle as she brings warmth to Jutland. Her warm chestnut hair stands out In the grayish storm that first brings her and she gathers herbs In the bright red sunlight. As the feast progresses, the wine filled glasses shine on the table and bring a rosy glow to the congregation cheeks and lips. When the meal Is over and everyone departs the stars shine brightly overhead symbolizing a new birth for the isolated Jutland.
Production Design Critique for Battle’s Feast By fostered 6 Starring: SSTphone Duran, Bodily Kier, Biretta Federalism, Ajar Ukulele, and Jean-Philippe Battle contrasts with the sisters Martinet and Philippe. This contrast is made clear through the different elements of the production design. Maritime and Philippe dress similar in blue and have fair skin while Battle is darker skinned. Battle’s her from the sisters. The statue of Christ in the sisters’ home is often shown in the background and reminds the audience of what a central role religion plays in their life.
Indeed the sister’s religious beliefs play such a pivotal role in their lives that Color plays an important role in the production design. The town of Jutland is shown in black, gray and brown tones and symbolizes the dullness of the place. Place. Repeating cold blue colors are portrayed in the sisters’ eyes, outfits, and Jutland. Her warm chestnut hair stands out in the grayish storm that first brings her and she gathers herbs in the bright red sunlight.