Black existential comedy about the modest disgust of the bourgeoisie. Ferreri decided to show the loss of meaning in the modern world by successful people. It would seem that life was successful, but there is only an existential emptiness in it. There's no escape. Beauty and art will not save, success and prosperity will not save. But there is the last hope (the most tried and true) – love. She's in the movie, too. It won't. Life is so meaningless that hedonism and death come together. Idea and implementation are high.
In The Big Food, Ferreri marvellously approaches Buñuel’s Modest Charm (1972) in social criticism. It is noteworthy that the plots of two films are tied to the topic of food. But if Buñuel shows the rotten soul of the bourgeoisie, Ferreri is more tragic. He's more sorry for the bourgeoisie. She's desperate. Ferreri was a master at showing tragedy through comedy. And in "The Big Grass," he succeeded.