La Grande Bouffe

A father imprisons his children inside a suburban compound where domestic comfort calcifies into ritualized derangement, with food, language, and sex carefully rationed by the patriarch. Like Ferreri, Lanthimos uses the bourgeois household as an airless chamber where abundance becomes its own form of suffocation.

Weimar's nightlife is filmed as a cabaret of last suppers — cocaine, champagne, and revue numbers performed at the lip of a political abyss the diners refuse to name. The show, like Ferreri, treats hedonism not as escape but as the orchestra playing on while the floor gives way.

A woman's refusal to eat meat metastasizes into a refusal to eat at all, indicting a patriarchal household where consumption is the unspoken contract of belonging. Han Kang inverts Ferreri's gorging gesture — abstention as the same suicidal exit from a culture whose only verb is intake.

Gainsbourg's concept suite frames bourgeois desire as connoisseurship — the older man tasting the girl as he would a vintage, with strings dressing predation in silk and sucrose. Like Ferreri's villa, the record is a closed room of velvet appetites whose elegance is inseparable from its rot.

Children swept into a galactic resort city are fattened on alien delicacies and spectacle until the candy-coloured paradise reveals an extraction economy beneath its buffets. The film, co-produced through Hong Kong, refracts Ferreri's gourmand parable through pop science fiction — pleasure as the bait of an interstellar consumer machine.