La Cocina (2025)

Direction: Alonso Ruizpalacios
Country: Mexico / USA

Adapted from Arnold Wesker's play, La Cocina  is an exercise in style, full of highs and lows. It portrays a large, chaotic, multicultural New York kitchen where steel clangs, voices clash, and bodies move with tense urgency. Mexican director Alonso Ruizpalacios (Gueros, 2014; Museo, 2018) crafts a hot-blooded, surreal, and poetic spectacle that often resembles a wild circus.

Amid the clamor, dreams and personal struggles simmer—money has mysteriously vanished from one of the registers, and suspicion falls on Pedro Ruiz (Raúl Briones), a volatile, immature Mexican cook who has gotten Julia (Rooney Mara), an American waitress, pregnant. The film’s atmosphere is zany and sometimes disorienting, yet it retains a certain magnetic pull.

Undocumented immigrants and the marginalized are at the heart of the story—they’re indispensable and yet exploited—and the film offers fleeting but poignant glimpses into their roles in the restaurant’s ecosystem, which mirrors the nation’s broader social dynamics. The characters feel vivid and authentic, each with distinct aspirations and personalities, contributing to a frenzied spectacle that veers between hilarious and excruciating. 

La Cocina thrives primarily on its kinetic energy, with bursts of anger pushed deliberately to extremes, while also grappling with the dehumanizing mechanisms of an overburdened capitalist system that traps its workers. The score insightfully conveys the characters’ inner turmoil, and visually, cinematographer Juan Pablo Ramírez excels with striking black-and-white imagery and expressive camera work.

A Cop Movie (2021)

Direction: Alonso Ruizpalacios
Country: Mexico 

Alonso Ruizpalacios’s A Cop Movie is a didactic docufiction that brings to the center two Mexican police officers from Mexico City. The film doesn’t play with stereotypes, preferring an experimental approach that, blurring the line between reality and fiction, leaves the viewers questioning what’s to be a “true" cop and what’s their role in the society.

By making a clever use of structure and employing an artful narrative, Ruizpalacios (Gueros, 2014; Museo, 2018) offers a raw, sometimes funny glimpse into the discredited Mexican police force, stressing their (de)motivations and daily struggles in the performance of their jobs. 

Teresa (Monica del Carmen), whose apparently dismissive father was also a cop, is 34 and spent half of her life as a police officer. Her partner in life and at work, Montoya (Raul Briones), is unsmiling while on duty and only joined the law enforcement unit because of his brother. In addition to depict them in several difficult situations in the streets - including a stagey arrest, a strained childbirth, an altercation with a big shot, and dealing with bribery - the film also addresses their family problems, emphasizing the joys and the pathos of living and working together.

The first two acts are competently mounted and astutely joined; the third - about the couple - is the most redundant; while the last two - when the actors reveal themselves and the real-life officers speak truth to power - are precious. 

There’s a clunkiness to A Cop Movie, which, nonetheless, delivers a unique 107-minute distraction.

Museo (2018)

Direction: Alonso Ruizpalacios
Country: Mexico

Museo, the sophomore feature from Mexican writer/director Alonso Ruizpalacios, is a gorgeously shot, character-driven heist film inspired by the 1985 Christmas Eve robbery of the National Museum of Anthropology in Mexico City. It is only occasionally that its mild tones go beyond the expected, yet even so, it stands as a low-key fun overall with some refreshing takes on the genre.

Gael Garcia Bernal stars as thirty-something Juan Nunez, a college dropout with a sharp taste for and massive knowledge of anthropology. Moreover, Juan is subversive, selfish, and manipulative, a man capable of driving crazy not just the members of his family, but also Benjamin Wilson (Leonardo Ortizgris), his submissive college mate, follower, and best friend. Ambition is another important feat of his personality and that’s why he decided to steal invaluable Inca pieces from the National Museum of Anthropology, where he used to work part-time to pay his leisure time. His idea consists of escaping from the boring suburbs and the control of his vehement father, Dr. Nunez (Alfredo Castro). He and his friend just dreamt of building their own paradise. Sounds great, right?

Christmas Eve means celebration and, consequently, implies critical breaches in the museum’s security. Juan and Benjamin knew exactly what they wanted to pick. Among the stolen pieces is the funerary mask of King Pakal, which, by itself, makes them multimillionaires. Nonetheless, what seemed obvious to them becomes shrouded in uncertainty, and what should be the simplest part of the plan - selling the art - becomes a nightmare. Juan had the courage to do it. Does he have the courage to fix it?

Ruizpalacios, who did a more consistent job in his 2014 debut drama Gueros, combines adventurous theft, archeology lessons, family aloofness, and a vitiated friendship all in one. The lens of cinematographer Damián García attractively captures all of this, but part of the energy accumulated during the journey wasn’t always canalized in the right direction. It wouldn’t hurt if the relationship between the two leads were further explored or if Juan’s night of excesses was depicted with a bit more creativity.