Simply put, our knowledge base hasn't caught up with our enthusiasm. Europe, Asia, and India have hundreds and hundreds of years of adoring their food and treating it like something more than a commodity or a sustenance necessity. And when that is ingrained in your culture, your art is able to provide a more nuanced portrayal, because the assumption is that everyone watching comes in with certain understanding of what it is and how it works. And so they get films like Denmark's Babette’s Feast, Taiwan's Eat Drink Man Woman, and Japan's Tampopo.
Now, the fact that we're not food- or restaurant-industry experts isn't a deal breaker. Americans are capable of making and watching nuanced portrayals of things we don't intuitively understand. Like the prison system (Orange Is the New Black), the world of a cappella (Pitch Perfect), the New York symphony scene (Mozart in the Jungle), shorting stocks and the hedge-fund world (The Big Short, Billions), being from Chino, CA, but thriving in Orange County by living in the guesthouse of a well-meaning but occasionally bungling family (The O.C.).