Review: A restaurant is a world unto itself in ‘La Cocina,’ one of the year’s freshest films

As a seasoned cinema connoisseur with years of experience under my belt, I must say that “La Cocina” is a cinematic tour de force that resonated deeply with me. Having spent countless hours in the kitchen myself, I can attest to the chaotic, relentless pace and the delicate balance between camaraderie and competition that this film so beautifully captures.

The movie “La Cocina” starts off by drawing on Henry David Thoreau’s thoughts from his 1863 essay, “Life Without Principle,” particularly the lines, “Let us ponder our daily routines / This world is a stage for transactions / How busy everything seems.” The film delves deeply into these ideas, exploring how work can become all-consuming and overshadow various other aspects of life.

Under the guidance of Mexican director Alonso Ruizpalacios, who reworked Arnold Wesker’s 1957 play “The Kitchen,” the movie bursts with intense vigor, yet skillfully balances these outbursts with tranquil melodies as interjections. This marks Ruizpalacios’ fourth feature film in approximately a decade and represents a significant leap, transitioning him from a promising newcomer to a seasoned storyteller. Despite the chaotic scenes portrayed onscreen, the filmmaking carries an air of confidence that makes this one of the most innovative films of the year.

The narrative, titled “La Cocina,” is centered around a bustling Manhattan restaurant called The Grill, where meals are served at an astonishing pace to numerous tourists. The story opens with a young woman named Estela (Anna Díaz) discreetly maneuvering through the back door prior to opening hours, aiming to secure a helper’s role in the kitchen by means of a subtle deception. As events cascade one after another, the plot accelerates at a breakneck pace amidst the continuous din of dishes and pots, and the incessant ticker-tape of order tickets emanating from the machinery.

As a moviegoer captivated by the storyline, I found myself drawn to Pedro, a once-vibrant chef from a humble Mexican town, played brilliantly by Raúl Briones. He’s the heart and soul of the kitchen, a whirlwind of charisma amidst the chaos. However, there’s a secret in his life – he’s been seeing one of the waitresses, Julia (Rooney Mara), and she’s expecting. She has an appointment for an abortion scheduled later on, fitting it into her busy work shifts.

At the workplace, the team members form a microcosm of the United Nations, often addressing one another using their country of origin as a nickname. For instance, a recent waitress frequently clarifies that she is Dominican, not Mexican. In essence, events outside the restaurant hold minimal importance, and the narrow passageway at the back provides the only opportunity for profound interactions among colleagues.

A clear division of duties and rank persists among the waitstaff and chefs, each performing their tasks with a palpable sense of urgency. The boss occasionally hints at unrealized assistance for his undocumented employees in obtaining legal documentation, which seems to motivate them to continue working. The management is on edge, trying to locate the $800 that went missing the previous night, questioning staff members to see if anyone might have taken it.

As a devoted film enthusiast, I’d say the kitchen, rather than a smoothly running set, seems more like a chaotic scene straight out of a drama flick. Petty squabbles are commonplace, and minor fiefdoms are everywhere you look. It’s almost miraculous that food manages to make it onto our plates under these circumstances. A faulty soda machine unleashes what feels like the beginning of an end-of-the-world flood. When the discord in the kitchen spills over into the dining room, we all know things have reached a boiling point.

As a movie enthusiast, I find it intriguing that despite Julia’s pivotal role in the story, Mara doesn’t shine as the typical A-list Hollywood star among the cast. Sporting her stringy, bleached tresses and exuding a weary vibe, she seamlessly blends with the rest of the characters. Her quirks like playing with a lighter or burping after downing beer too quickly are charming and endearing, yet they subtly hint at a deeper struggle and turmoil beneath her surface.

Collaborating with cinematographer Juan Pablo Ramírez and editor Yibrán Asuad, while opting for black-and-white footage interspersed with impactful bursts of color, Ruizpalacios develops a distinct visual aesthetic that keeps evolving throughout the film. This innovative approach results in an atmosphere of unforeseen tension that mirrors the story’s complex and dynamic narrative development.

In discussing “La Cocina,” it’s hard not to draw parallels with the popular TV show “The Bear,” both being set in a restaurant environment. However, unlike “The Bear,” “La Cocina” is less concerned about the culinary aspects – only a basic sandwich gets the special treatment on-screen. Instead, Ruizpalacios chooses to zero in on the relentless grind of the work and the individuals fighting to survive each day, hoping to return tomorrow for more.

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2024-10-31 23:31