🍷 THE SONG OF LUNCH 🍷 (2010) Watch FULL MOVIE with subtitles (ALAN RICKMAN, EMMA THOMPSON)

Summary

An office worker gives himself a rare afternoon escape—leaving a sticky note (“Gone to lunch”) and practically sprinting to reclaim his freedom. He avoids colleagues on purpose, takes an empty lift down into sunlight, and heads to Soho’s literary-laced streets to meet someone he hasn’t seen in years.

He arrives at Zanzotti’s, a restaurant he remembers fondly—only to find it changed. The old staff is gone, the vibe feels trashier, and the menu is now dominated by gimmicky pizza options. His welcome is cool and clerical, like he’s being filed away in the “Book of Reservations.” Still, the anticipation is strong… until his date finally appears. The woman from his past greets him with an intimate kiss.

They’re both clearly “the same and changed”: familiar affection, but with new distance, polish, and something harder around the edges.

They order lunch, trade uneasy commentary, and circle around old emotional wounds. A waiter keeps interrupting their flow, and their conversation turns into a mix of romance and bitter humor—especially when she reveals details about her husband’s ongoing success and how everything “is perfect,” while he clearly isn’t buying it. Jealousy flashes. Control shifts. Their relationship seems both tender and fractured.

As the meal goes on, the scene becomes increasingly surreal and comedic. He gets intoxicated, fixates on odd details, and even jokes about fetishizing her wrist—until she shuts him down with a deadpan, crossed-boundary vibe. Their exchange keeps swinging between flirtation, criticism, and verbal sparring.

Then the conversation derails into something darker and more theatrical. She reads/recalls his poetry book, and he reacts sharply. Their debate spirals into a strained metaphor about Eurydice/Orpheus and what his poems really mean—except his wife claims he got the “kidnapping and rescue” story wrong, and argues that his work is essentially emotionally misdirected. The argument becomes a confession session disguised as literary debate.

Eventually, their conflict leads him to impulsively try to change the course of the evening. He attempts to escape the emotional loop by focusing on grappa—then abruptly spirals into physical disorientation. He leaves the table, wanders the restaurant and nearby corridors in a hallucinatory stumble (as if the world resets around him), and returns only to find she has already gone. He’s left behind, as if the lunch has “expired” and he missed the exit.

In the empty restaurant, he sees a final, haunting figure: an extremely old, rigid man seated alone by the window—recognition hitting him like a shock. It’s Massimo, the missing restaurant owner/staff member from his past. The story lands on this eerie revelation, implying the lunch escape wasn’t just a tryst—it may involve deception, time distortion, or fate’s trap.

Highlights / Jokes / Key Reactions

• The sticky-note “truant” fantasy voiceover frames lunch as a rebellious escape from a work “trap.”
• Soho’s cultural decline is mocked through his nostalgia for what used to be there.
• The restaurant’s “Book of Reservations” and clerical service add dark comedy.
• The pizza-heavy menu and “everything’s changed” vibe underline their awkward reunion.
• The wrist-fetish leering moment flips serious tension into absurd humor.
• The poetry debate turns meta and heated, attacking the logic of his own work.
• His drunken “world reset” leads to the surreal twist: she leaves, and he returns too late.

Personalities Appearing

• The office worker / narrator (Alan Rickman character)
• The woman from his past / his wife (Emma Thompson character)
• Massimo (older man/restaurant figure)
• Waiters / waitstaff (supporting comedic interruptions)