Grill: After a bear and a chef, the tension increases the back of the stoves

When the kitchen becomes burnt with a closed dore

This is a shot in the grill kitchen, in Manhattan a very live restaurant. Pedro (Raul Breiones), a rebellious Cook, tries Julia (Rooney Mara), one of the waiters. But when the boss discovers that the money is stolen, everyone is suspected and degenerated.

For a successful series of Narcos: Mexico City and Andor, director Alonso Ruispalacia returns to the cinema with his new film: The Grill. During the Berlinal, the 50th anniversary of the Barrière Prize was awarded the Deauville American Film Festival, the 4th feature film receives a closed cuisine of the camera-episodic restaurant, which is burning energies: service intensity, passionate relationships, all gently.

Each element of the grill composition then becomes a tension factor: the image is blurred, saturated with an Almighty vessel, a metronome appearance … Servers and cooks pass through all directions, with full hands and foreheads trying to be a thief.

The real antiles, grill kitchen should not deteriorate chefs and bear enthusiasts: there is the same tension, the same passion, but first of all the same energy.

Immersed in the daily life of immigrant workers

Then it remains tomorrow and tattoos, the grill is also a black and white bet. But it is not a simple aesthetic choice, this bias shows the deep intentions of director Alonso Ruispalacia: “Usually, we feed on bright colorsIt is analyzing And culinary films or programs are full of almost “pornographic” visualization on food, strong colors, images that make saliva. I wanted to get rid of it. For me, the color removal made it possible to focus on food and focus on the faces of the workers. This is one of the main reasons for aesthetic choice.»

Because the density of his narrative arches is even greater, due to the diversity of its distribution, the grill paints its greatest wealth: we, Mexico, Morocco, white or black skin … Grill cuisine gives the place of immigrant workers, the necessary work is often invisible.

As long as the black and white choice, the plot frame – which occurs in the heart of the Time Square – then becomes political: “For Grill, of course, there is New York, who is in the heart of the movie, explains the filmmaker. It’s been a long time since I wanted to make a movie in this city because it depicts a great history of the new world, namely the experience of emigration.

Whatever it was, it was the story of another Times Square, what we do not see for people who make this place daily. These invisible that gives the existence of this space. “

Closing the closed doors with a charming political subtext, the grill should now be found in the cinema.