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Friday, July 4, 2025

New Film ‘La Cocina’ Exhibits the Ugly Aspect of Restaurant Kitchens


“You’ll be able to’t dream in a kitchen,” one of many characters says in La Cocina, the newest movie by Mexican director and author Alonso Ruizpalacios. The suffocating actuality of restaurant work takes middle stage in his English language debut, which resists the modern urge to showcase refined and intricately plated dishes in favor of highlighting the uncooked — and poisonous — depth of behind-the-scenes kitchen operations. As an alternative of closeups of palms kneading dough or tweezing petals, there are faces; and rather than the standard solid of wide-eyed culinary faculty graduates and Michelin star aspirants, the protagonists are undocumented cooks and dishwashers from all around the world. In La Cocina, cooking is just not artwork, however a livelihood — a method to an finish.

A movie poster for “La Cocina” featuring a lobster tank holding a miniature Statue of Liberty and on one side a woman cleans the glass, on the other a man stares ahead.

La Cocina

The movie begins within the chaos of Time Sq., as a younger Mexican immigrant Estela (Anna Díaz) wends her manner by the town streets earlier than arriving at her first day on the job at The Grill, a Cheesecake Manufacturing unit-esque restaurant that churns out uninspired meals to hungry vacationers. (Ruizpalacios was unaware on the time of writing that there’s a very actual, completely different restaurant referred to as the Grill.) Compelled to enter fairly actually by the back-alley door, Estela serves as information into this bustling world of hierarchical division — entrance of home versus again of home, employee versus supervisor, American versus foreign-born.

Gliding with balletic precision, the digicam regularly shifts its focus from Estela to the romantic entanglement between undocumented Mexican cook dinner Pedro (Raúl Briones) and American waitress Julia (Rooney Mara) who discovers she is pregnant. Their variations are once more symbolic of bigger ones. Tensions begin to rise when the restaurant’s bookkeeper discovers $800 some-odd {dollars} lacking from the until and begins to individually query each worker.

Based mostly on Arnold Wesker’s 1957 play The Kitchen, La Cocina is just not delicate — a Statue of Liberty figurine lies submerged within the restaurant’s lobster tank — however it delivers a searing portrayal of displacement and the shattered guarantees of the American dream, the expressionistic black-and-white cinematography imbuing the movie with a parable-like high quality.

The movie opened in New York on October 25, with extra cities to observe. La Cocina’s producers have additionally teamed up with the advocacy group One Truthful Wage to host a collection of occasions, together with one in Occasions Sq. on October twenty eighth that can present restaurant employees with skilled headshots and an opportunity to win lease vouchers.

Eater interviewed Ruizpalacios to debate why he wished to point out the ugly facet of kitchens, his time in eating places, and the way he made Wesker’s play his personal.

Eater: I learn that you just got here throughout the play whereas working on the Rainforest Cafe. What was that have like and the way did it inform the film?

Alonso Ruizpalacios: It was in London’s Piccadilly Circus, which is a bit like Occasions Sq. as a result of it’s a vacationer vortex. I went there as a result of I heard the guidelines had been actually good, which they had been. However total it was a traumatic expertise for me. Very busy, very loud, and tremendous aggressive. Kitchens are like that, however this was over 20 years in the past when there was no observance from an HR division. I used to be finding out theater on the time and found Harold Wesker’s play The Kitchen, which actually helped the working days really feel extra bearable and fascinating. I didn’t need this movie to seize that “shiny meals porn” a part of the trade, however the different one which I received to know at this restaurant.

I additionally met actually fascinating folks, a few of whom ended up as characters within the movie, which is a really free adaptation. For instance, the character of Samira, performed by a French Moroccan actress [Soundos Mosbah], relies on a French Algerian cook dinner that I met, who simply type of grounded everybody. She didn’t lose her cool, and when she did she at all times got here up with a candy phrase after slapping you. Kitchens are a magnet for bizarre characters.

Samira is likely one of the few feminine cooks within the kitchen, and she will actually go head to toe with the fellows. I’m considering of the scene the place everybody’s one-upping one another with probably the most crass issues they will say. I assumed it was a fantastic instance of the advantageous line between issues being enjoyable and joking round, earlier than a line will get crossed later within the movie.

That’s precisely what I used to be going for — to have each the great and the unhealthy sides. There’s numerous goofing off that occurs within the kitchen or some other office. It’s a giant a part of what helps you keep sane and make it to the top of the shift. I additionally labored in a bar for a very long time, and it was the identical dynamic. It’s a must to joke round as a result of in any other case you’ll go fully loopy.

Talking of dynamics, Pedro and others stroll this line of worry and respect for these above them, just like the restaurant proprietor Rashid — even when he’s clearly exploiting them and promising papers.

That side isn’t current in Wesker’s play, however it emerged throughout my analysis for the movie. After I traveled to New York, I carried out quite a few interviews with undocumented cooks in Manhattan. A number of of them shared an identical expertise concerning their bosses, who would make comfortable guarantees about serving to them with their papers. It’s a merciless trick — like a dangling carrot. Many spend 20 or 30 years chasing that promise, but nonetheless haven’t any inexperienced card.

Meals-related films and exhibits like The Bear have turn out to be very outstanding in right this moment’s popular culture panorama. Have been you conversant in them earlier than beginning this undertaking?

I do know of them, however the journey for this movie began a few years in the past. I directed the play about 14 years in the past, after which I began writing it right into a screenplay. After I lastly completed and we had been in pre-production these movies and exhibits like The Bear and Boiling Level got here out and that actually depressed me. I used to be like, Come on! I’ve been engaged on this for a extremely very long time!

I made some extent to not see any of them, and I nonetheless haven’t. I must get this movie out of my system first. However I’m curious — as a result of I’ve heard The Bear is nice. My essential purpose for not watching although is that I didn’t need to lose give attention to what I wished to convey. The movie and the play are concerning the perils of unchecked capitalism, and what we’re decreased to once we worth productiveness above every thing else. I wished to ensure to not lose sight of that and switch this into a luxurious expertise. I discover that type of shiny romanticization of eating places to be deceptive to some extent. After all I like Chef’s Desk as a lot as the following individual, however that’s not a standard denominator and it doesn’t seize most individuals’s expertise of working in a restaurant.

There’s one second although within the movie that you may name meals porn — when Pedro makes a sandwich. That was very deliberate, and in script and stage course I had even written that descriptor in, and that’s as a result of it’s the one time we see cooking as an act of affection. It was vital that it appeared and felt scrumptious then as a result of the remainder of the time meals is a transaction. It’s work. It’s an meeting line. They could possibly be making computer systems or iPhones or automobiles. However this one time it’s completely different.

What was it like working with meals on set?

We rehearsed for a month earlier than taking pictures, which is a beneficiant period of time for movie. That was one in every of my deal-breakers with the producers. We received all of the actors from — from Marrakech and England and Individuals and Haiti — to Mexico for a month. They might go to cooking faculty within the morning after which this theater house the place we’d improv for the afternoon. We spent a very long time selecting what every character would cook dinner. That’s one other fascinating factor with meals and eating places: The cooks type of turn out to be their dish. The one who handles meat and the grill type of turns into muscular and whoever does the salads tends to be mild. That was one thing actually fascinating that I noticed, how folks kind of turn out to be their plate. So, we picked the dishes very fastidiously after which they went by this technique of studying methods to make them. After all we had a complete crew who was there to redo the meals as wanted, however for probably the most half the actors are all cooking. By the point we shot, everybody knew precisely methods to make their dishes and the way that kitchen labored.

Have been you filming in a restaurant or did you create a set for the movie?

We filmed on a sound stage in Mexico and principally needed to reverse-engineer the set as a result of our chef advisor advised us we would have liked to know what they’re cooking, as a way to lay out the kitchen. So first we created the menu and identification of the restaurant, after which an area to suit that. It was a extremely fascinating course of doing completely different variations of the structure.

Had you been opening a restaurant, these are most likely the identical type of stuff you’d be serious about!

We joked once we had been taking pictures that we may simply open this restaurant now, and we might have made extra money for positive.

Do you see numerous similarities between filmmaking and working a restaurant?

I do truly and I thought of that so much when writing. After I was writing the employees meal scene, I bear in mind telling myself to only take into consideration what lunch was like throughout filming [as a reference or jumping off point]. Immediately, all hierarchies are erased whereas folks eat. For an hour, we’re all in the identical house and it’s very democratic. Some folks do go off to their trailers, however in Mexico even well-known actors usually eat with the crew. When it’s over, we’re again to a hierarchical society. That’s what ties movie crews to kitchens. Anybody in the next place makes positive that the individual under is aware of it. Individuals are waving their standing and bandying it about, which is type of unhappy, however that’s the best way it’s.

One other side is that they each have like navy parts, like actually, numerous Concepts from the navy are utilized to the organizations of a movie crew and the kitchen. You see it in the entire Escoffier factor, and the way it influences the construction and circulate of these areas.

There’s an unbelievable scene within the movie the place the cherry Coke faucet on the soda fountain received’t shut off, and the employees proceed to work even because the kitchen is kind of actually flooded. Are you able to discuss that scene? I can’t think about that was within the play.

Under no circumstances. The origins of that come from 13 or 14 years in the past when my spouse and I had been in New York. It was the final Christmas as simply the 2 of us earlier than we had our first youngster. We had no cash, no plans, and didn’t know anybody, so we spent Christmas Eve questioning what to do. We couldn’t afford a giant meal, so we determined to go to the flicks and went to this shitty multiplex in Occasions Sq.. Whereas I used to be getting popcorn on the concession stand, I seen the carpet was mushy and actually moist, and as I received nearer, I noticed the cherry Coke machine was spilling out, like a fountain. It was so bizarre to me that it wouldn’t cease. It simply saved gushing, and no one paid any consideration to it. I even advised the man giving us our popcorn, and he was like “I do know” and carried on working. That to me was the right encapsulation of late capitalism. My spouse additionally jogged my memory that the movie we noticed that evening was The Lady with the Dragon Tattoo, which Rooney is in, so it’s good to have come full circle.

Elissa Suh is a author and editor based mostly in New York. She publishes the Moviepudding publication, devoted to exploring the intersections of meals and movie.

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