La Cocina (2024)

La-Cocina-(2024)
La Cocina (2024)

In the awe-inspiring film La Cocina, it’s not particularly hard to spot The Grill, which is an extended kitchen space that has connections with the restaurant on Time Square. The twist is that this is one of those places that depend on fast food and all the negatives that come with it. Still, as the orders pour in, the selection contains plenty of chicken masala and Margherita pizzas at their Italian restaurant. Most customers of the ‘Grill’, which is New York Maze’s one of many restaurants are tourists who tend to be on the go since they are here to experience the New York hustle and bustle. Consistently, dozens of people are coming and going from these places without taking a second to pay attention to the fact that the food was made by someone, that there is drama, action, or people working behind the scenes.

Due to the recent attention on ‘The Bear’, it is safe to say that Kitchen drama has become a trend. This is however not the case with The Comfort Light as it portrays The Grill’s processes as shaped by undesirable characteristics of a theatre which revolves around the dispossessed nature of the franchise which only employs cooks to teach other cooks to increase the volume of chicken marsala but never to learn to be replaced.

In the latest episodes of Vaninichenko’s works, there is a handsome head chef, a rather ruffled gentleman this time round who has been eroded by the new culinary post called ‘F’ mr parent ‘fast’. La Cocina, however, boasts of quite basic recipes. All the same, they are required at such occasions, most of them as Agustin Ruizpalacios the scriptwriter and playwrights – usually pictured scenes. And so, lathes are presented to the audience “in the style of extreme combat and blast, which is the exponent of infinitive chaos”. That is what the cameraman has been trying to do targeting to go beyond a densely populated and shrinking kitchen, building, this looks a lot like amateurish. But then why it is,’ life advancement and a career that is hardly an occupation with the prospect of ever getting to such a level of success a hard endeavor, is it?

In this picture, it is Ruizpalacios who is the very first one to present this cook-off. He takes over Estela’s rookie role by portraying Anna Diaz’s immigrant character who is in search of a job in a restaurant and comes from Mexico. Esteal aside from barking up the wrong tree has already stolen off the pleasures of having someone not to have an interview with her. However, ‘La Cocina’ should not be Estela’s sole life story, much like immigration policies or her own life history were her strong suits. She most definitely is of more interest because her tired visage makes the camera revert back to her again and again. Within that context, she is also the replacement of the viewers: interested in what is happening, she, like the rest, also gets immersed in what is happening as the action begins.

Assuming a more sophisticated use of lobster, Pedro from ‘La Cocina’ is a man who rarely comes up for air after having spent an inordinate amount of time in the kitchen. Well, that makes sense as he assumes the Chief’s role of the current team, who perpetually looks as though a disaster is a mere second away. His character is almost reminiscent of Raúl Briones but with a distinct twist. For instance, Ruizpalacios, in the very beginning, hints towards the chaos that will be triggered in Pedro’s life. Taking Scott’s night as an example, a level of violence is assessed to the previous costumes. When pegged alongside riddles intersecting his relationship with his wife, it starts making sense, doesn’t it? As for “La Cocina”, the sharp change in the narrative when Miguel turns his attention towards Pedro appears to be purposeful. Instead, through his narration as it progresses, one gets the sense that he was intended to drown near the rest of the characters.

My favorite bit in the film ‘La Cocina’ is Briones’s use of performance in several of his best scenes and multidisciplinary techniques. Pedro loves cooking but absolutely hates all the shit that comes with working in a New York restaurant kitchen, though his company is hard to avoid. If the combined list from which half the men and women under his command get fired or deported once in a while is exhausting, then he is the list holder in 90% of the cases. He plays to many such people as the illegal immigrant Pedro, who is incessantly living in a near-zero level of anxiety but can lay it on the horde of so-cal stylists. Ruizpalacios, his Director of Photography Juan Pablo Ramirez explained to me this most of the time as an Adoration of Briones, the most essential of their team members, hence in order to zoom into his unforgettable face the handheld camera periodically rests.

It is a very highvol camera and once I get the camera, La Cocina’s visual language is quite elaborated in a very particular context. There is a dominant staged design which in my opinion is just a variety of images but it is also drama-oriented with attention to the use of monochrome colors as well as frequent shifts of the camera in order to create visual chaos. It is during lunch time so the action in the sequence is quite active but every aspect too looks to be well arranged and orchestrated.

I strongly feel the image of a film director in the final part of the picture ‘La Cocina’ and it is one of the very few things that do not leave me indifferent. It’s a great monologue that’s edited perfectly into the drama because Briones has Cape Verde Essay perfectly overdone, though it’s overly excessive because one does not anticipate the unpredictable climax to be in moments in an NYC kitchen. On the other hand, however, it is a cinema that in some places strays from a very realistic depiction all those camera effects just stated are meant to remind you that this is simply a film. One which depicts shared agony and yes, the shared beauty of an ordinary, God willing, somewhat subnormal kitchen in NY. And taking into account a myriad of locations in and around Times Square’s grill then, it could all perhaps be the case that they are all quite so functional. After all, Pedro, Julia, Estela the rest of the works are not out of Zanzibar or meant to be anything exceptional. A feature-length film on the other hand is not the same as this.

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