La cocina

The movie is trying to immerse the audience into the microcosm of a major restaurant kitchen in New York. Great acting by many of the cast. However, 3 hours are too long for getting the story across. Some elements don't make sense at all and some characters are not getting the focus they deserve. Overall the topic of diverse cultures by migrants and their personal dreams of life are a crucial topic. I would have wished to allow this in a form that would focus on few and with a deeper vertical story line. Raul and Rooney Mara are amazing in their performances. We watched it at the world premiere and the audience was very receptive to the premiere.

Unpopular opinion: not every movie needs a 2.5-hour runtime. "La Cocina" (who I've been wanting to watch since its "Sundance" premiere) is a perfect example of this, feeling unnecessarily drawn out and lacking depth. While the film has its strengths-like its exploration of multiculturalism in a Manhattan restaurant-too much of it feels disjointed and unfocused. The narrative tries to juggle too many elements, resulting in a plot that feels messy and uneven. At times, it almost feels like it would have worked better as a play rather than a movie.

That said, there are parts of "La Cocina" that truly stand out. The multicultural dynamics in the restaurant setting are fascinating, and I wish they had been explored more deeply. The cinematography is stunning, especially with its black-and-white visuals that add a striking, artistic flair. But despite these highlights, the film's ambition ultimately outweighs its execution, leaving it feeling more like a missed opportunity than a compelling watch.

La Cocina (2024) is a black-and-white, thriller-adjacent drama set in the kitchen of a New York restaurant on a particularly stressful day in which the lunch rush is amplified by an investigation into a missing $800 dollars suspected to have been stolen from the tills the night before. Although it bounces around between the various members of staff, initially beginning with a fresh-faced immigrant fumbling her way around the city in an effort to locate a man she knew as a child and ask him for a job, it soon more-or-less lands on Pedro, a three-year kitchen veteran with clear anger management issues and a desire to work long enough to get his Green Card, and Julia, a no-nonsense waitress with anxiety issues and an urgent desire to get an abortion. The feature essentially depicts a difficult day in the life of its characters as they navigate their work and their personal lives while trying not to slip up and sacrifice their chance at the coveted American dream. Thematically, it's all about the immigrant experience and the way in which America views non-citizens as a means to an end, dangling the carrot of citizenship and acceptance as a way to encourage work within the capitalist nightmare that robs almost everyone of their individuality. While this is an interesting angle to explore and the affair occasionally does so with poignance, the overall experience struggles to marry its subtext with its setting and often feels as though it's trying to say so much that it ends up not really saying anything in particular. Having said that, it's still a well-written and keenly observed slice of fiction that feels naturalistic in its every aspect. It does sort of lose its way as it heads into its increasingly erratic and stereotypically explosive finale, but its earlier moments of comparative subtlety work really well and there are some sequences that are almost transcendent in their high-intensity urgency. A ten-minute apparent oner (which is actually at least two shots stitched together) is incredibly impressive, an immersive and suspenseful real-time presentation of an exceptionally stressful lunch rush that genuinely puts you on the edge of your seat. Elsewhere, the filmmaking is confident and considered, with often beautiful framing and an ability to make the mundane both strikingly cinematic and remarkably real all at the same time. The performances are grounded and nuanced, making each and every character feel as true-to-life as possible and enhancing the impact of even the story's most tangential moments so that everything feels as though it matters even if some of it technically doesn't. The cinematography is often striking, the writing is often poetic, and the production design is consistently delightfully unobtrusive. The piece has a fly-on-the-wall feel, a naturalistic aesthetic that enhances the impact of its purposefully messy and - I suppose - unfulfilling plotting. It looks really unique, a whole world unto itself, and its artistic elements are as necessary as its narrative ones. It's a really cohesive picture and it often works brilliantly. What holds me back from liking it more is the fact that it gets a bit too loose in the second half of its second act, before it becomes a bit too conventionally 'big' in its final third and then stops just shy of doing something truly out there that it might as well have done fully considering how heavily it alludes to it. It also doesn't compound its themes quite as well as it could have. Still, this is a really solid effort that doesn't quite feel like anything else I've seen so far this year. It's really good.

A black and white comical tragedy or tragical comedy about various people who are attracted, like moths to a flame, to working in the kitchen of a famous restaurant on Times Square in New York. The working conditions are disgusting, the bosses are manipulative and threatening, most of the kitchen staff are illegal immigrants from places where life standard is considered to be worse than in US. But what can be worse? They are working under contant pressure, almost always tense and stressed, always yelled at, humiliated and even accused of crimes they didn't commit. The central characters, a local waitress and a Mexican chef, are more disturbed than the others; and they start sort of a love story and hell knows where it will end.

There's also humor, a lot of noise, sporadic fits of violence, a dream sharing session, some flirting with consequences, multiple languages (and multiple misunderstandings), food and drinks galore, a very tight schedule, obscene jokes and a ray of hope in everyone.

The international cast is great, the music is superb, the acting and photography are wonderful. The main theme, in my opinion, is how overrated the Times Square place is - the Cocina people go through so much suffering and maltreatment there, and they only got there in hope for a better life, the American dream. But is this the better life? True, it's not the lowest bottom level and most of them seem to get by but they, as everyone else, definitely deserve more than this overrated Times Square place has to offer.

'La Cocina' (2024), the bold and unusual film by Mexican director Alonso Ruizpalacios, immediately reminded me of Charlie Chaplin's 'Modern Times'. Both films have one memorable scene that visually and symbolically represents all that is wrong with the dehumanization of work. As a whole, both films present scathing and fearless critiques of abhorrent aspects of the capitalist system, of course in different centuries and at different stages. 'La Cocina' combines this theme with that of illegal immigration in America today. Movies about immigration in America have a tradition, you could say they represent a separate genre. What is special about Ruizpalacios' film is that the point of view is that of immigrants. The director, most of the producers, the technical crew, the actors and the heroes of the film are mostly non-American. The director is also the author of the screenplay, adapted to the realities of America and today from a play (which also became a film script) by the English playwright Arnold Arnold Wesker.

The story takes place in a restaurant called 'The Grill' in the center of Manhattan, somewhere near Times Square. We never enter the front door, though. From the first scene, we are directed to the back entrance, and we will only see the restaurant itself, with its local or tourist customers, twice in the movie. The rest of the story takes place in the kitchen where dozens of dishes are prepared at a hellish pace for the hundreds of customers, or in the side streets or inner courtyards where the huge garbage bags permanently generated by the junk machine are stored. Estela, a (probably illegal) immigrant, who doesn't speak one word of English, is hired to work in the kitchen alongside Pedro, also an illegal immigrant, who has already been in the place for several years. Pedro has a relationship with the waitress Julia, who is pregnant. The woman wants to terminate the pregnancy, the man - who maybe loves her or maybe just wants to sort out his legal situation somehow - would like her to keep the baby. When $832 goes missing from one of the cashier machines, the entire staff, composed mostly of immigrants, comes under suspicion. The temperature is rising in the inferno that is already the restaurant kitchen.

'La Cocina' is not an easy film to watch. It is quite long and has moments when the story drags and the dialogues suffer from an excess of rhetoric and repetitions that add nothing. Fortunately, there are many other excellent scenes, inspired directorial decisions, and something cinematically interesting happening on screen all the time. Perhaps fearing theatricality, the director Alonso Ruizpalacios seems to constantly remind us that we watch a production of the art of film. The cinematography uses black and white, with rare spots of color at key moments and towards the end - a procedure if not invented, then made famous by Steven Spielberg in 'Schindler's List'). The scene at the core of the film, which lasts about 15-20 minutes, is filmed in one long shot and manages to convey the infernal dynamics of the activity in the restaurant's kitchen. The combination of the neo-realism of the attitude and the diversity of the cinematic means works very well. Unlike many other films whose stories take place in the kitchen, in 'La Cocina' the preparation of food is not (with one exception) appetizing, nor did the screenwriter and director really care. We are not in a temple of gastronomy but in a rather expensive junk food factory. The atmosphere of confusion that is transmitted to the viewers is what the heroes of the film feel as immigrants faced with the American realities, with hellish working conditions, with language barriers and mentalities. The diverse, multilingual and multicultural human landscape is excellently supported by a team of actors and extras, some amateurs, others professionals who enter the roles very well. Raúl Briones plays the role of Pedro exceptionally, although I could not fully decipher his character. Rooney Mara is cast in a very different role than the ones in other films I've seen her in, and once again demonstrates remarkable acting qualities. I am seeing, I think, for the first time Anna Díaz, who plays the role of Estela, and I hope to see her many more times in the future. Expressive and aggressive, 'La Cocina' is one of the good movies of the season, a film that takes us almost by force behind the scenes of the false shiny world that some of us enjoy and among the people who make it possible, with their dramas and sufferings.