In the near future, much too near, the last area of London where social housing still remains is about to be razed. This, in order to build more luxurious condo towers. Nicknamed “The Kitchen”, the said district is also surrounded on all sides by such nests of the wealthy. While the authorities try to chase away the recalcitrant, one of the residents, Izi, believes he has saved enough to afford his own sanitized paradise. However, when an ex dies, Izi decides to take Benji, the deceased’s teenage orphan, under her wing. He who was ready to leave, here is Izi thinking of fighting to stay. Desperately realistic science fiction, The Kitchen (VF) is above all a committed film.
In fact, the socio-economic and anti-capitalist concerns of co-directors Kibwe Tavares and Daniel Kaluuya (the star of Get Out, who also co-wrote) are an integral part of the film’s DNA. Moreover, the themes of the housing crisis and gentrification, as a narrative backdrop, give The Kitchen a relevance and topicality that transcends the London territory alone.
Indeed, the same barely dystopian story could have been set in any metropolis, including Montreal.
Where the film scores the most, however (and avoids becoming a simplistic lampoon), is in its exploration of the relationship between Izi (charismatic Kane Robinson) and Benji (excellent Jedaiah Bannerman). A relationship that begins in frustration, for the first, and circumspection, for the second.
In fact, Izi feels obliged to watch over the teenager, temporarily, he insists. For his part, Benji considers the alternatives available to him, the main one being to join forces with the gang that plagues the city and defends a Robin Hood-style philosophy.
In this regard, this criminal aspect appears to be both underdeveloped and conventional. This is, therefore, the least interesting part of the film.
Decrepit vision
On the other hand, the world of tomorrow that Kibwe Tavares (who studied architecture) and Daniel Kaluuya are building is extremely successful. A cross between favelas, totalitarian concrete and Lego blocks, the district where most of the film takes place sometimes evokes a Blade Runner daytime version.
The bill of excellence Children of Men (The sons of man) is never far away either. Because in terms of palette, gray dominates, in line with a decrepit futuristic vision.
We will regret a somewhat “anti-dramatic” outcome, but here again, the emotional charge resulting from the relationship between Izi and Benji alleviates this frustration. A film that has heart, style, and purpose.