Ottolenghi and the Cakes of Versailles
Cakes. They're not just a treat; they're an artform. Sundance award-nominated director Laura Gabbert (City of Gold) follows five chefs, including the world renowned Yotam Ottolenghi, as they attempt to bring something new, exciting and sumptuous (in cake form) to an extravagant food gala based on the art exhibit "Visitors to Versailles."
- Director:
- Laura Gabbert
- Cast:
- Yotam Ottolenghi
Reviews & comments
Los Angeles Times
pressEvolves into a complex exploration of the symbiotic relationship between money and art, and questions what the visibility of that conspicuous consumption could portend.
RogerEbert.com
pressIn its attempt to cram too many narratives and subjects into too short of a running time, it ends up coming across as both overstuffed and oddly undernourished.
IndieWire
pressA more nuanced documentary — one that didn’t just feel like evidence of an event that happened at a museum, but a work of art unto itself — might have made a meal out of such ideas, rather than just offering them for dessert.
Chicago Tribune
pressFor such a sweet film, Ottolenghi and the Cakes of Versailles evolves into a complex exploration of the symbiotic relationship between money and art, and questions what the visibility of that conspicuous consumption could portend.
Los Angeles Times
pressEvolves into a complex exploration of the symbiotic relationship between money and art, and questions what the visibility of that conspicuous consumption could portend.
RogerEbert.com
pressIn its attempt to cram too many narratives and subjects into too short of a running time, it ends up coming across as both overstuffed and oddly undernourished.
IndieWire
pressA more nuanced documentary — one that didn’t just feel like evidence of an event that happened at a museum, but a work of art unto itself — might have made a meal out of such ideas, rather than just offering them for dessert.
Chicago Tribune
pressFor such a sweet film, Ottolenghi and the Cakes of Versailles evolves into a complex exploration of the symbiotic relationship between money and art, and questions what the visibility of that conspicuous consumption could portend.
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