by Finnlay Dall

Year:  2025

Director:  Ayuko Tsukahara

Rated:  PG

Release:  10 July 2025

Distributor: Cine Asia

Running time: 117 minutes

Worth: $12.50
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth

Cast:
Takuya Kimura, Kyoka Suzuki, Ok Taec-yeon

Intro:
… a palatable theatrical drama that goes down easy – as long as you’re willing to embrace it as the soap opera it was meant to be.

A feature film sequel to a J-Drama doesn’t happen often, much less one served up on the silver screen. Most either end up shelved with the rest of the streaming produce or rotting in the depths of Netflix’s catalogue. However, while Ayuko Tsukhara’s efforts won’t exactly be winning her any prestigious awards, Grand Maison Paris is a palatable theatrical drama that goes down easy – as long as you’re willing to embrace it as the soap opera it was meant to be.

Natsuki Obana (Takuya Kimura), a brilliant yet belligerent chef, finds himself back in Paris after a (quite literal) series of events kept him away. Having made a name for himself in his home country of Japan, Obana is no longer the protegé of a three-star Michelin chef, but a restaurateur in his own right. Nevertheless, while the La Grande Maison may have dominated Tokyo, its Parisian counterpart struggles to maintain its edge. Eluding their third Michelin star for a second year in a row, the restaurant is failing dismally, especially in a city known for housing a third of France’s three-star restaurants. And after a disastrous performance in front of his mentor, Obana and his staff face eviction if they cannot reinvent themselves.

Obana, his love interest/sous chef Rinko (Kyoka Suzuki) and his most trusted staff may have returned, but a slew of new faces enter the fray. Notably, their Korean pâtissier Yuan (Ok Taec-yeon), whose youth and drive sometimes butts heads with Obana’s stubbornness, and whose ability to fight for his fellow chefs gives him a likable charm. There are also classic soap opera loan sharks, as Yuan’s expensive foodie habits – and the gang looking to collect his debt – catch up with him. Obana’s mentor Balanc offers an equal measure of guidance and antagonism throughout the film, even if he and his son Pascal turn into a passing thought once things start to heat up in the kitchen.

Grand Maison Paris’ efforts to engage with an international audience are admirable. Many actors have to balance multiple languages in the same scene. It isn’t always consistent, as two characters will suddenly converse in English over wine despite both being fluent in Japanese, but it’s still leagues better than most TV productions. And as language barriers soak their way into the story, the cultural clash between Asian and Western tastes often leaves the kitchen simmering with drama.

While its themes of togetherness aren’t exactly new for the format – with lines like “We must prove that cooking has no borders” unabashedly thrown into a motivational speech – its interpretation of fine dining’s bigotry, is certainly interesting. In the world of gastronomy, Nationalism is favouritism. Only the finest locals get the finest ingredients. When Obana is denied a deal with one of France’s most sought-after caviar companies, it’s made clear that even his skills can’t overcome the cut and dry world of corporate decision making. The owner, despite being impressed, sees the chef’s request as tantamount to betraying his country, imagining a French sushi chef working in Japan and asking for their finest salmon. Obana’s position as an expat trumps his abilities as a chef, simply by being a ‘bad look’ for any well-respecting French person, should they decide to give him a leg up. Even the head chef himself is swept up in Michelin’s politics. Hesitating to bring less traditional flavours and techniques to his new menu, Obana argues that the Japanese quality of his dishes is what lost him a star in the first place. But as more of his chefs, waitstaff and suppliers infuse their own cultures and spice up his cooking, he’ll have to admit that his dishes weren’t the problem after all. All of this culminates in a final showdown that’s fun to root for and just as delectable to look at if you’re willing to embrace its rougher edges.

If a Michelin star is awarded based on how likely a person is to go out and seek the experience, then Grand Maison is unlikely to see any from its audience, much less an official body of critics. But while you may not make the pilgrimage to go see it, it probably wouldn’t hurt to order-in, mould yourself into a comfortable position on the couch and give it a binge.