In this blog post, I’d like to explore the healing and transformative power of chocolate, the characters’ conflicts and growth, the tension between religious austerity and natural human desires, interpretations based on the theories of art by Plato and Aristotle, and the meaning of life conveyed through the film’s fairy-tale-like visual beauty, all through the lens of director Lasse Hallström’s film ‘Chocolat’.
Why “Chocolat”?
Children really love chocolate. That’s because its sweetness—something they don’t often get to taste in everyday life—is enough to stimulate their taste buds. But to be honest, I haven’t really liked sweets since I was a child. Whether it was candy or chocolate, even after it melted away in my mouth, the lingering sweetness left a strong, sticky, and cloying sensation.
Then one day, I came across a very ugly, jet-black piece of chocolate. Perhaps it was curiosity. I took a big bite of the chocolate I didn’t even particularly like. Thinking about it now, when the war on weight has become a global trend, I’m overcome with regret—maybe that choice was a mistake. Because from that moment on, I ended up loving chocolate more than anyone else. The chocolate I tasted back then would be better described as bitter rather than sweet. It wasn’t sticky or overly sweet—it had a very simple, clean flavor. Of course, since then, I’ve come to enjoy even very sweet chocolate without hesitation.
While watching the movie ‘Chocolat’, I thought, “Ah! I’ve fallen under the spell of chocolate, too!” Perhaps the chocolate that suits me best was that ugly, jet-black one after all. Watching the villagers discover, one by one, the chocolate that suited them best and find vitality and happiness in life through it, I became grateful that I had found the chocolate that suited me so quickly. It made me realize that if it weren’t for the magic of chocolate, living in this world might have been just as dull and uninteresting as it was for those villagers.
This might be a foolish thought. But one thing is certain: if I hadn’t experienced the sweetness that chocolate offers in this fierce and harsh world—a world that robs me of even the last remnants of vitality in my body—I could never have been as happy as I am now. To fight against life’s bitterness, defeat, despair, frustration, and fear, and to emerge victorious from that battle and find happiness, we need the sweetness and magic of chocolate.
For modern people—and for me—who live such hectic lives in the fierce struggle for survival that we have no time to look to the side or behind us, no time to reflect on our own emotions, let alone those of others, and no time to appreciate the joy or value of life itself, ‘Chocolat’ is a magical movie that reawakens the sweetness and happiness of life. This is why I turn to this movie whenever I’m feeling down or lonely, and why it ranks among my top five favorite films.
Here’s the story!
It’s 1959, and a fierce north wind is blowing through a small French village—and along with that wind come Vianne and her daughter, Annuk. A few days later, Vianne opens a chocolate shop across from the church and begins inviting the villagers in, one by one. At first, the villagers are wary and keep their distance, but as they taste the chocolate, they gradually begin to open their hearts.
However, Count Reynold, the town’s mayor, takes a strong dislike to Bienne for the way she’s changing the people. He finds it unacceptable that a wandering, unmarried mother has come to town, that she’s brazenly opened a chocolate shop during Lent, and that she’s tempting people with her chocolate—all of which are a thorn in his side.
Yet the villagers’ lives change beyond recognition. A couple who had long been cold toward each other rediscovers their former passion, and Joséphine, who had suffered from her husband’s constant beatings and restrictions, breaks free from those shackles. A grandmother and her grandson, who had been unable to meet due to the mother’s interference, continue their secret meetings at the chocolate shop, and a grandfather who had merely gazed at a woman for decades finally summons the courage to approach her. Life begins to spring forth once more, and vitality fills the village, which had been stiff as a board—as if dead—under the weight of overly solemn and conservative Catholic norms and authority.
The villagers even begin secretly eating chocolate during church services, but the mayor—who embodies tradition and authority—is not about to stand idly by. He blocks the path of those heading to the chocolate shop and launches a campaign to drive Bienne out of town.
Amid all this, a new development unfolds: a group of Gypsies appears by the riverbank. While the villagers avoid them, Bienne and Anouk set out to find them, carrying chocolate. Bienne, who had been hurt and exhausted by the mayor’s sabotage, regains her courage and hope upon meeting the Gypsy Lu. However, most villagers shun the Gypsies, fearing they might spread disease or crime. People openly express their rejection with posters reading “Drive out the immoral” and slogans like “We don’t sell to animals.” Even Joséphine’s husband, Séguy, misunderstands the mayor’s words and ends up setting fire to the Gypsies’ boat.
Just then, the north wind blows again, and Bienne decides to leave the village. The conflict, which seemed destined to escalate, is resolved in a surprisingly anticlimactic manner. Unable to stand by and watch Bienne suffer any longer, the mayor takes a knife and breaks into the chocolate shop. While smashing the chocolates, he accidentally tastes some that has smeared onto his lips and ends up devouring an enormous amount of chocolate like a child.
With this sudden change in the mayor’s attitude, the villagers hold a joyful and lively Easter festival. The village, which had lost its vitality due to strict rules, is transformed into a happy community. Even the mayor, who had been so stubborn, opens his heart and becomes a new person. Although it took a few months, he invited Caroline to dinner and even managed to smile happily. Joséphine takes over her husband’s shop and renovates it, renaming it “Café Armand.”
Meanwhile, the north wind has ceased. With the arrival of summer and the south wind, Vianne and her daughter begin their new life in the town. Ludo, the gypsy who had left, returns, and Pantoufl, the imaginary friend who was always with Anouk, recovers from his injured leg and sets off in search of new adventures. And so, the film comes to a close.
Who is the true protagonist of ‘Chocolat’?
“In Europe, there are many cities with old town centers from which streets radiate outward. These old town centers are preserved as historic sites, and because renovations or reconstructions of the buildings are prohibited, they retain their antique charm. As you walk through them, you often come across old chocolate shops. Bizarre chocolates, chocolates of every color and shape… Just looking at the chocolates displayed behind the glass window is enough to make your mouth water, and the moment you open the door and step inside, your imagination becomes reality. It’s the moment when a blessing descends upon your tongue and a curse falls upon your wallet.”
This is the opening of Professor Park Tae-sik’s film review of ‘Chocolat’, which captivates readers from the very beginning with prose even more delicious than the chocolate itself. It’s an irritating yet captivating passage that makes you want to visit Europe for no other reason than its old-fashioned chocolate shops—and stimulates your taste buds with words alone, making it impossible to resist popping a piece of chocolate into your mouth. Every time I reread it, my mouth waters, which is no small dilemma.
As described earlier, Professor Park Tae-sik’s perspective on chocolate is, at first glance, positive—so much so that he encourages us to savor the fantastic taste of the chocolate created by Vianne. However, he never views the film’s protagonist as chocolate itself. Rather, he argues that the true protagonists are “people” who pursue “naturalness,” as represented by the sense of taste, rather than chocolate itself.
In particular, the young priest is a prime example of someone pursuing that naturalness. While cleaning the church courtyard, he sings Elvis Presley’s “Hound Dog” and suddenly imitates Elvis’s dance moves. Even though he is wearing a stifling priest’s cassock that completely covers his neck, he is, in this way, a very natural person. However, the situation changes when the mayor catches him dancing and singing. From that point on, the mayor begins to meddle in every aspect of the priest’s work. The priest even finds himself in the pitiful position of having to submit his sermon manuscripts to the mayor for prior censorship before using them during services. Ultimately, the priest is crushed under the mayor’s authority, and his “naturalness” ends up being held hostage to the mayor’s “false consciousness.”
Meanwhile, the triangular dynamic formed by Count Reynold, the mayor—who represents solemnity—Bianne, who brings a breath of fresh air to the village through her chocolate shop, and the young priest caught in the middle, unable to act one way or the other, effectively conveys director Lasse Hallström’s intent.
Professor Park Tae-sik interprets the director’s intent from a religious—or, more precisely, a Catholic—perspective. That is, God is inherently natural, and in creating humanity, He bestowed upon humans the same natural attributes. However, humans often mock God and His will through the oppressive and coercive rules they have established for themselves, turning the world into a suffocatingly stifling and rigid place. Neither the Church nor the priest is exempt from this.
In that sense, the film can also be interpreted from a religious perspective. “Chocolat” is a film that tackles quite serious issues by using chocolate—a symbol of freedom—to criticize the rigid and formalized norms of the Catholic Church and the authoritarianism of society’s leadership. However, as demonstrated in his previous works—such as ‘My Life as a Dog’, ‘The Cider House Rules’, and ‘What’s Eating Gilbert Grape’—the director highlights his own unique brand of humanism by expressing serious and sensitive issues indirectly through a gentle visual language.
Of course, the one thing you absolutely cannot miss in this film is the chocolate itself. True to the title ‘Chocolat’, chocolate appears throughout the film. The various secrets that make the chocolate delicious and beautiful, the profound yet intriguing expressions of those tasting it, and the vibrant chocolate shops that stand in stark contrast to the gray surrounding buildings—all these elements add to the film’s charm.
Furthermore, the brilliant performances by the renowned actors should not be overlooked. Tony Award-winning actor John Wood plays the widower Guillaume, while Leslie Caron—a famous musical theater actress from the 1950s and 1960s who starred in ‘An American in Paris’—appears as Mrs. Odell, the woman who captures his heart, adding to the film’s charm. Judi Dench, who won an Academy Award for Best Supporting Actress for ‘Shakespeare in Love’, and Carrie-Anne Moss, the warrior from ‘The Matrix’, deliver powerful performances as a mother and daughter who have long been unable to overcome their rift. Lena Olin, who appeared in ‘The Ninth Gate’, also joins the cast, adding depth to the film. It’s also worth noting that Johnny Depp, who brilliantly portrayed Willy Wonka in ‘Charlie and the Chocolate Factory’, appears as Gypsy Lou, adding another layer of entertainment.
If you look closely, all change begins with chocolate
If asked to identify the key word in the film ‘Chocolat’, it would naturally be “chocolate,” but to be more precise, it should be “the wave of change brought about by chocolate.” “Change” serves as a crucial element in understanding this film.
First, a change in the weather—the north wind—triggers a concrete shift in Vianne’s behavior, and the change in people’s hearts brought about by Vianne’s arrival leads to changes in their relationships. Ultimately, this wave of change triggers a chain reaction that transforms the entire village and, furthermore, alters the film’s overall atmosphere. In other words, it is the element of “change” that influences the film’s entire structure—from the onset and conclusion of the events to the unfolding of the plot. Now, let’s take another careful look at the story, focusing on this change.
The film generally follows a narrative structure with a beginning, rising action, climax, and resolution; notably, the north wind blows during the beginning and climax of the story, foreshadowing change. In a French village that resembles a monastery, a woman appears as the north wind begins to blow. The story begins when this woman, Bienne, opens a chocolate shop in the square across from the church, thereby offending the sensibilities of Count Reynold, the mayor.
Bianne gradually reaches out to the villagers, easing the emotional burdens lodged in their hearts, infusing them with warmth, and healing them. However, Reynold, unable to stand by and watch his prestige plummet as people succumb to Bianne’s charm, begins to sabotage her by spreading malicious rumors. The story unfolds amid this conflict between healing and obstruction.
As the mayor’s sabotage intensifies, an exhausted Bienne decides to leave the village again following a fire incident. Just then, the north wind blows in, and the story reaches its climax; however, thanks to the mayor’s sudden change of heart, it ultimately concludes with a somewhat anticlimactic yet happy ending for everyone.
Thus, the film’s central structure is built around the conflict and tension—and eventual reconciliation—between Bienne, who brings a breath of radical change, and the mayor, who resists it. The addition of the small, individual stories created by each villager makes the overall narrative structure even more solid and rich. So, how do these smaller stories organically connect with one another and influence the film as a whole?
Among the first to taste Bienne’s chocolate is a married couple whose interest in and love for one another have long since faded. Their daily life is utterly monotonous. The husband spends his days dozing off in front of the TV, never once casting a loving glance at his wife.
The wife, too, has grown accustomed to her listless husband; she no longer makes an effort to look after herself and devotes herself solely to housework. Then, after her husband happens to eat the chocolate Bienne gave him, the passion of his youth suddenly surges back, and the couple rediscovers the passion they once shared when they were happy and in love. This is an example where the magic of chocolate is demonstrated in the most direct and effective way.
However, the character who undergoes the most striking transformation is Joséphine. Joséphine lives under the oppressive tyranny of her patriarchal and violent husband. Excessive oppression and violence drive Joséphine to seek an escape through kleptomania, but this only plunges her deeper into a quagmire. Then, after meeting Vianne, Josephine finds the courage to boldly break free from her husband. She is the character who most clearly demonstrates the will to actively transform her own life.
Of course, the mayor is not pleased with Josephine’s transformation. At first, he tries to blame her for defiling the sanctity of marriage, but after learning of her husband Sege’s ongoing abuse, he makes an effort to reform Sege. Sedge attempts to change not through chocolate but through the mayor’s teachings; however, his transformation was not a fundamental change stemming from within. He was nothing more than a hollow shell—a facade that looked plausible on the outside but lacked any substance. Consequently, his true colors quickly resurface. He breaks into the chocolate shop in the middle of the night while drunk and causes a disturbance, and eventually goes so far as to set fire to a boat carrying Gypsies.
Meanwhile, Mayor Reynold struggles with even deeper inner conflict following the fire caused by Seji, but undergoes a sudden transformation when he tastes chocolate while observing the Lenten fast. In fact, while he outwardly appears arrogant and strong-willed, deep down he is a lonely and deeply wounded man. He had sought to control his wounds and desires through strict discipline and self-restraint. His attempt to help Sage—while waiting for his departed wife—may have been partly motivated by a desire to restore his authority, but underlying that was likely compassion for Sage, who was destined to find himself in a similar predicament.
In any case, the mayor’s change in attitude affects the atmosphere of the entire village. The people, who had been unable to breathe freely under the weight of his authority, regain their laughter and vitality as the mayor changes. Consequently, the overall tone of the film—which had previously exuded a dark and gloomy atmosphere—also shifts. The visuals become noticeably brighter and clearer.
Luke, who was unable to see his grandmother because of Caroline, is a boy who feels extremely stifled by his mother’s overprotectiveness. He is talented at drawing, and it is through this talent that he succeeds in reuniting with his grandmother. Luke, who had previously been obsessed with drawing gruesome subjects like dead pigeons and skulls, gradually transforms into a cheerful and healthy young man after meeting his grandmother at the chocolate shop, gaining the strength to carve out his own path in life.
Carolyn only begins to undergo a real transformation once her mother’s death draws near. Her conflict with her mother—who refuses to go to a nursing home despite suffering from diabetes—is further exacerbated by Madame Armand’s free-spirited nature. The fact that Armande’s free-spirited nature clashes with the town’s conservative atmosphere also fuels the conflict. However, Caroline, too, begins to change little by little as she watches Luke find joy in his time with his grandmother and gradually regain his vitality. Of course, Mayor Reynold feels betrayed and falls into despair at this transformation in Caroline.
The transformation that deserves the closest attention in this film is that of Bienne herself. Bianne is the daughter of Chicha, a member of a Central American tribe, and, influenced by her mother, inherits a life of wandering. In other words, she was destined to roam with the north wind, healing people—just as her mother and previous generations had done for generations.
While Bianne changes the lives of the villagers by healing them, she is unable to change her own life. While she tells Joséphine that people can always change, she concludes that “nothing will ever change” for herself. Although she wanders to heal others, the truth is that the person who truly needed healing was Bienne herself.
Ultimately, Bienne changes through the people she has helped transform. She finally gains true freedom as she lets her mother’s ashes be carried away by the north wind. She has broken free from the destiny of wandering passed down through generations and is now able to choose her own path in life.
This transformation in the mother also triggers a change in her daughter, Anouk. Although Anouk does not directly express her dislike for the nomadic life, she reveals that she is by no means satisfied with it. The most telling evidence of this is her imaginary friend, Pantoufl. Pantaple is a symbolic figure who embodies Anuk’s loneliness and anxiety.
Ultimately, Pantaple appears for the first time and then departs as the north wind passes, summer arrives, and the south wind begins to blow. Anuk no longer needs Pantaple. This is because she no longer has to wander, no longer has to continue her unstable life, and no longer has to feel the loneliness and isolation of being stranded alone in a strange place. Anouk has now let him go and no longer longs for him.
The final character to undergo a transformation is Lou, a Gypsy who is forced to lead a life of constant wandering. Lou falls in love with Bienne but feels burdened by the pressure to live up to someone else’s expectations. Consequently, despite Bienne’s courageous confession, he ends up leaving. However, as spring passes and summer arrives, Lou returns as well.
In this way, the overall narrative structure of the film is completed as the stories of each character are organically intertwined. As we watch the film and follow these processes of change one by one, we find ourselves approaching the core of the story before we know it: the fantastic, magical power of chocolate heals those who are wounded and lonely, filling their hearts with love and happiness.
In life, chocolate serves as a means to release our repressed desires and as a buffer that alleviates the pain of reality. People who have been busy suppressing and repressing their desires gradually regain their vitality and discover themselves by unleashing and resolving those desires through chocolate.
Is “Chocolat” Art!?
Humans have an innate desire to imitate. We derive pleasure from imitating something, and we feel that pleasure once again when we behold the product of that imitation. Sometimes, we even find greater joy in an imitation than in the original itself. This inclination served as a crucial foundation for the emergence of art, which has long played a role in stimulating the human senses and providing pleasure.
Regarding this issue, the ancient Greek philosopher Plato advocated for the “banishment of poets,” arguing that poets should be expelled from the ideal state. The theoretical basis for his argument stems from ‘The Republic’, which deals with the ideal society he envisioned. In Plato’s ideal society, truth—known as “Ideas”—serves as the standard, and justice is realized.
Here, “Ideas” do not refer to the individual objects themselves that exist in the visible, real world, but rather to the essence of those objects. Ideas belong to the realm of true existence, distinct from the real world perceived through the senses, and were considered to be graspable only through pure reason, not through mere human senses.
Therefore, from Plato’s perspective, art—which imitates the appearance of the real world—runs the risk of straying from truth. This is because if reality itself is already an imperfect imitation of the Forms, then art—which imitates that reality once again—is even further removed from truth.
Plato’s argument that poets should be banished from the ideal state can be understood for two main reasons. First, by imitating the real world—which is merely a shadow of the Forms—poets cause us to drift even further away from the Forms, which are the ultimate truth toward which we should strive. Second, art can stimulate the irrational aspects of human nature and sensual pleasures, thereby clouding rational judgment. In this regard, Plato warned of the potential for art to numb human reason and threaten moral order.
On the other hand, his disciple Aristotle put forward a different argument from that of his teacher, Plato. He recognized the autonomy and value of art from the perspective that art, which imitates nature, can be even more beautiful than nature itself. For Aristotle, imitation was not simply the act of copying exactly what “exists” in reality, but rather the act of representing what “could be” in accordance with the laws of probability and necessity.
In other words, art possesses its own value system and raison d’être because it does not merely copy a facet of reality, as in Plato’s view, but rather reimagines reality based on literary plausibility. Art created through such imitation allows people to experience pleasures and joys that are difficult to encounter in everyday life, and it also serves to alleviate the unfulfilled desires and frustrations that everyone faces in daily life. As a result, people can derive psychological satisfaction from art.
This theoretical conflict among ancient Greek philosophers bears a curious resemblance to the conflict structure depicted in ‘Chocolate’.
Count Reynold, the market manager who absolutely adheres to Catholic norms and dismisses the sweetness of chocolate as the devil’s temptation, exhibits a conservative attitude similar to that of Plato, who emphasized the function of reason and cautioned against sensual pleasures.
On the other hand, Vianne, who uses the sweetness of chocolate as a weapon to heal people’s pain and sorrow and bestow love and freedom upon them, positively values the pleasure and joy derived from imitation, resembling Aristotle’s stance, which emphasized the autonomy of art and psychological satisfaction.
Let’s put this more simply. If we simply replace the word “art” with “chocolate,” we discover that the conflict between Reynold and Vianne is very similar to the opposition between Plato and Aristotle.
From Plato’s perspective, art is a negative element that stimulates sensual pleasure and can cloud rational judgment. For Reynold, chocolate also symbolizes forbidden pleasure and is a dangerous temptation that hinders an ascetic lifestyle.
In contrast, from Aristotle’s perspective, art plays a positive role by providing pleasure and joy, thereby alleviating frustration and enhancing psychological satisfaction. For Bienne, chocolate is also a medium that heals people’s pain and wounds through love, passion, and freedom.
Ultimately, the two philosophers’ views on art and the two characters’ attitudes toward chocolate can be seen as forming similar oppositions.
The fact that Plato and Aristotle hold such distinct positions on art is ultimately related to the nature of the truth they pursue. While Plato regarded the Forms—which exist beyond sensory reality—as the standard of truth, Aristotle believed that universal truth could also be discovered through observation of reality and plausible imitation. In particular, the pleasure and joy derived from such imitation hold significant meaning in human life.
The conflict between Reynold and Vianne over chocolate can also be seen as stemming from their differing views on what constitutes a righteous life and where the truth of life can be found.
So where, exactly, does truth lie in the film ‘Chocolat’? This question is raised from the very beginning of the film, and it is only at the end that we finally receive a clear answer.
The village’s establishment, represented by Mayor Reynold, argues that adhering to the traditions that have sustained the village until now is the truth of life. Armed with strict and conservative religious beliefs, they are zealous about creating an ascetic village. On Sundays, everyone in the village must attend church, and during Lent, everyone must fast. If anyone even slightly violates the village’s code of conduct or rules, or attempts to act contrary to them, they are treated as odd and quickly shunned.
They are also highly exclusive toward outsiders, showing strong resistance when Bienne and her daughter or the Gypsies arrive. As we’ve seen several times before, this stems from a conservatism rooted in a fear of change. While such conservatism may help maintain social stability and harmony, it can also drain all warmth and vitality from that society.
Of course, reason and norms are very important for living. However, they alone cannot reveal the truth of life. Sensual pleasure is by no means a sin to be unconditionally avoided. Moderate sensual pleasure breathes vitality into our lives and serves to bolster our will to live.
In this sense, chocolate served as both an irresistible temptation for those oppressed by conservative norms and a much-needed remedy. The desires that had been suppressed and distorted within each person were healed by chocolate and released in a more natural and healthy form.
Heralding the Beginning of a Fantastic Fairy Tale
This film emphasizes its fantastical nature right from the start. From the moment the opening credits appear, a mysterious, enchanting score plays, and the text floats onto a black screen filled with billowing fog before fading away. It’s an opening that maximizes the dreamlike atmosphere. It’s as if the film is saying, “You are about to enter a world of fantasy. Get ready!”
The fog neither completely obscures the view nor reveals everything clearly. By appearing just barely visible, it piques people’s curiosity and draws them into the film. In this regard, it can be considered a highly successful opening.
In stark contrast to the dark and gloomy atmosphere of the village, a mother and daughter, both wearing red capes, climb a hill. Moreover, with a fierce snowstorm raging, their journey appears even more arduous. Yet this scene creates the illusion that they are walking on clouds. This is because the snowstorm swirling around them gives the impression that white clouds are enveloping them.
The stark contrast between gray and red, combined with the effect of the blizzard swirling like a hazy mist, suggests that the hill they are walking up might be a midpoint connecting the real world and the realm of fantasy. Furthermore, the camera’s angle—looking up at the mother and daughter from below as they climb—makes the hill feel even steeper and more treacherous.
Next, a wide shot from a bird’s-eye view captures the panoramic view of the village. Starting with this shot, the camera descends rapidly, as if swept up by a whirlwind, and upon reaching the village square, it spins rapidly and forcefully—much like Dorothy being swept away by the tornado in the fairy tale ‘The Wizard of Oz’. This effect also serves as a device to emphasize the film’s fantastical nature. It creates an inescapable sense that one has been drawn by the power of a mysterious whirlwind on a journey to a village straight out of a fairy tale.
At this moment, something strange happens to the villagers attending Mass at the church. Suddenly, a strong wind blows, flinging the church doors wide open. This scene subtly foreshadows the changes that will soon befall them. A strong wind, seemingly coming from nowhere, sweeps into the seemingly peaceful and tranquil village and invades the church—the very space considered the most solemn and sacred in the village.
This scene foreshadows the repercussions and shockwaves that Bienne, the woman who appeared in the village wearing a red cloak, will bring. She will likely breathe new life into all the villagers gathered there.
Just then, the mayor walks over and closes the church door. The fateful confrontation between Vianne and the mayor had already begun at that very moment.
Does the movie ‘Chocolat’ end as mere fantasy?
Movies sometimes use ingenious imagination to depict things we rarely experience in reality; conversely, they sometimes present the all-too-familiar aspects of daily life in an unfamiliar way, thereby demanding new perspectives and ways of thinking. The film “Chocolat” can be said to fall into the former category.
However, when I look at it from a different angle, I find myself thinking that what seems most unrealistic might actually be the most realistic. Is it really so hard to find someone like Mayor Reynold in our own lives? Is the kind of freedom that Vianne embodies truly absent from our surroundings?
In our society, too, there are people who believe only their own values are correct and seek to dictate the lives of others. There are also those who, in the name of tradition and norms, fear change and live by suppressing even their own desires. Conversely, there are people like Vianne who pay attention to the pain of others and help them regain the happiness they have lost.
If so, couldn’t we say that the unrealistic story in the film is not merely a fantasy, but another facet of the reality in which we live?
The chocolate that Bienne offers the villagers is not merely a sweet treat. It is a medium that compels them to confront emotions they have long ignored, helps them rediscover forgotten love and passion, and gives those who have been wounded the courage to live again. However, it is not just the magic of the chocolate itself that matters. It was the will of the people—who opened their hearts through the chocolate and sought to change themselves—that allowed the village to find a new identity.
Bianne was no exception. She had constantly wandered in search of ways to heal others, yet she had been turning a blind eye to her own wounds; it was only through the people she had helped transform that she was finally able to heal herself. Ultimately, in this film, change is not a gift bestowed unilaterally by one person upon others, but rather a result created as people influence one another.
In that sense, the greatest magic the film reveals may not be the taste of chocolate, but the fact that people’s hearts can change.
We often put off happiness because we feel our lives are too realistic and exhausting. However, just as the villagers in the movie did, happiness doesn’t begin with grand changes alone. Sometimes, a small piece of chocolate, someone’s warm concern, or honestly acknowledging one’s own suppressed emotions can be the starting point for changing one’s life.
In this way, the process of bringing such an unrealistic story to life helps viewers realize that reality isn’t all that different from the world of the movie. And perhaps it’s a way of telling us to live with joy and hope.
This might be why I felt I had fallen under the spell of chocolate the first time I watched this movie. It wasn’t just because I came to love its sweet taste. It was because I realized that the small joy I found in a single piece of chocolate could be a source of vitality even for me, weary from the harshness of daily life.
That’s why I still turn to this movie when I’m feeling down or lonely. I want to regain the belief that even in a reality filled with pain, frustration, and despair, people can find happiness again, and that even a heart that’s tightly closed can open someday.
Just as the fierce north wind subsided and a warm south wind blew in the movie, a new breeze will eventually blow into our lives as well. And what we need to embrace that change might not be anything too grand after all.
Isn’t it enough to simply find a piece of chocolate that suits you and have a heart willing to embrace its sweetness?
