The structure of Oren Moverman’s The Dinner is, appropriately enough, prandial. It begins, roughly, with an aperitif, and concludes shortly after a digestif at an uber-luxurious prix fixe restaurant, the sort of dimly lit culinary castle where a wine is selected for each course, where the waiters explain the provenance of the garnish, and where the bill costs as much as an … [Read more...]