The different flavors of Juanita’s "Kusina"

Review of Cenon Obispo Palomares and David Corpuz's "Kusina"

(photos courtesy of the film's producers)

In a carnival, you know what kind of ride you’re in for, whether it’s an extreme roller coaster or a carousel, but in “Kusina” you wouldn’t exactly know what you’re getting into.

"Kusina," directed by Cenon Obispo Palomares and David Corpuz is about Juanita’s life that completely revolves around her kitchen. Her love and passion to cook starts at a young age. Everything evolves—Juanita, her life, the people around her, and her kitchen.

The film is told in a linear manner, spanning some of the most important, often bloody events in Philippine history. What makes it a bit different from other films is that it is told in an unusual, somewhat extraordinary way.

“Kusina” can be a tasty blend of great ingredients: Judy Ann Santos’ almost irreproachable acting, Cenon Palomares' Palanca-winning screenplay, and the experimental mixture of theater and film stood out, among others. It was a bit baffling during the first few minutes of the film, but you will get used to the story and the narrative design eventually.

Watching the film will make you feel queasy, as if trapped in a four-walled theater production. "Kusina" is like a stage play, where the characters would exit through the curtain—which by the way, changes color depending on the mood—and their costume changes match, from the color to the theme. Nevertheless, it is a well-staged performance.

“Kusina,” compared to your usual carnival ride, is a lot more different. It could make anyone claustrophobic because you will be entering Juanita's kitchen—which means you are entering her life as well.

However, it seems that nearly two hours isn’t enough to tell Juanita's story. The film needs a little more time to develop the characters and add more flavor to them, probably a little more sugar and spice. "Kusina" bakes a vague story of a woman whose life is figuratively described throughout the kitchen. It’s as if two hours isn’t sufficient for those who need more time to digest whatever is dished out to them.

On a side note, watching the film on an empty stomach is going to be a bad move. Your eyes will get a feast, since every dish being cooked is photogenic, thanks to Lee Meily's sumptuous cinematography.

Disclaimer: the contents of this review are solely the opinion of the writer, and does not necessarily represent the whole PLM Film Society.