The kitchen plays are all anger (literally) angry chefs have criticized our screens in the choice of the bear and the boiling location, but the new movie La Kokina is probably one of the recent restaurant work.
Directed by Mexico filmmaker Alonso Rose Palacevs and the British playwright Arnold Wesker based on the kitchen based on the kitchen, La Kokina is almost completely within a day, a tourist restaurant in Times Square, a tourist restaurant.
The restaurant has a huge staff, both in front and back of the house, but the film revolves mainly around Pedro (Raul Brown Carmona), which is a non -documentary Mexican chef, Julia (Ronnie Mara), who is a pregnant waitress with Pedro (and it is a new child to decide and a new baby). Along with personal dramas to work for the characters, there is a problem of missing $ 800 missing from one of the registers, and unless the culprit is found, each employee is inquired (no intention of pin).
Organized chaos
Once the lunch rush begins as a organized chaos in the grill, it rapidly goes into simple first chaos: when soda dispenser malfunction, Pedro fought against racism chef Max, Estella struggled to find her feet, and the new, older, older. Consumers are angry with the waiting staff, the waiting staff is angry at chefs, and the chefs are angry at everyone: Everyone lives at the breaking point all the time. Pressure cooker metaphor for kitchen work can be tired, but it is most accurate.
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Focus is not on food, but the relationship (both good and bad) is promoted between the four walls of the girl. Whatever rent is offered – burgers and pizza, mostly – is completely unimaginable. The only time we really get a proper glimpse of any meal when Pedro works hard for Julia before the service begins, and the camera lives in the hands of which it becomes one of the most intimate scenes of the film.
The camera keeps running permanently, mostly around the kitchen, and occasionally in a restaurant or in a street where employees take their smoke break. When we follow the outside characters, it is very calm and peaceful than the inside – ironically, considering that we are at a tourist hub in New York City.
What now?
In these quiet parts of the film (stolen moments by chefs in the streets, and the walk between Julia and Pedro), Pedro has revealed that she is very engaged in dreams. The American dream, of course, is not high in the movie, so these characters have to move their minds a bit.
The on -screen text states that the film opens with an excerpt from an article by American author Henry David Thoro: “Let’s consider the way we live our lives,” is written in the on -screen text. “This world is a place of business. What an infinite stir! I wake up almost every night with the panic of locomoto. It disrupts my dreams.” Pedro’s fellow workers, as a whole, keep their dreams easy between interference.
For Pedro, though, its ultimate fantasy is respected, which makes the girl’s management staff not involve her employees. In a later scenario, where the stolen money from Pedro (which is just needed for such a precise abortion) is being questioned) manager Louis, who is a second -generation immigrant and self -identified American, disrupts it to correct its Spanish. In view of what is a context and threat to Pedro, this is a useless gesture, but he cannot help himself. If the respect is off the table, he wants the minimum lead, if only by the ship.
“What now?” The restaurant’s head chef asks her in the last moments of the film, when stress has reached the head, and this is a question that resonates throughout the film. In the grill, workers are promised green cards that never act, staff shares hopes and dreams that are absolutely ridiculous, and the management management is cleared under the carpet. Life is separated during a document shift in La Kokina, but the next morning it will be a business.
La Kokina is now out in UK cinemas. See more information about what you want to see, our big screen spotlight series.
