Its characteristic focus on the tension between tactile labor and abstract crises — between day-to-day upkeep and spiritual survival — is present from the opening moments, but so is its characteristic refusal to artificially define the contours of that tension.

With Menus-Plaisirs Les Troisgros, Frederick Wiseman proves again to be the master poet of micro textures that speak to the macro of social infrastructure.

Chuck Bowen

Slant Magazine

Menu Plaisirs is not amongst his masterpieces but it’s a fine late addition to the Wiseman canon––even in a media landscape so saturated with food shows and celebrity chefs, the director’s made a film that feels both fresh and artistically stimulating, unmistakably his own.

Rory O'Connor

The Film Stage