Peter Greenaway pushes film as a medium to the extreme, crafting an unequivocal masterpiece. The great minds of Production Designers Jan Roelfs, Ben Van Os, Cinematographer Sacha Vinery, and French Fashion Designer Jean Paul Gaultier all come together to serve a story that has grown to be even more relevant in America today. In collaboration with Production Designers Jan Roelfs and Ben Van Os, each location resides in the uncanny; the exterior world resembles a stage and this is exposed from the opening shot. We jib from the scaffolding below to the streets above. This is a world in which the viewer is immediately aware of its falsehood. The city streets are in direct contrast to the interior of the restaurant where the majority of the picture takes place. Having been recently purchased by abusive, amoral entrepreneur Albert Spica, he turns the restaurant into a personal kitchen. Here, the audience is bathed in spectacular opulence. Production Designers Roelfs and Van Os leave no stone unturned by covering every inch of the dining hall in red luxury. Cinematographer Sacha Vinery frames this location by only allowing the audience to face one direction, usually sticking to a wide angle lens, similar to how one would view a play. Much like the exterior world, the beauty of this luxurious interior is merely a façade covering a much greater evil. This is paralleled by the beautiful work of Jean Paul Gaultier. Albert Spica and his gang of thuggish associates are dressed in only the finest. Juxtaposed by Michael, the character Albert's wife Georgina is having an affair with, is only ever seen in more modest clothing. Both Michael and the workers are terrorized by Albert and his gang. Gorging themselves in an endless number of courses, meal after meal, unable to be satisfied. Greenaway uses excess to define corruption. This is a movie concerned with entrepreneurialism, decadence and the corruption of man.