The Kitchen on Netflix, a new dystopian movie that began streaming today, has a lot to say about gentrification. The film is the feature directorial debut for actor Daniel Kaluuya’s (of Get Out and Nope fame), who co-directed with Kibwe Tavares. Kaluuya also co-wrote the script alongside Rob Hayes and Joe Murtagh.
The film stars British rapper Kane Robinson, aka Kano, as a man only interested in surviving and thriving on his own, in a dystopian future where all public housing has been outlawed. Kano’s character isn’t interested in solidarity with his community. He just wants to make his paper and get the hell out. But when a young boy unexpectedly enters his life, he suddenly has a reason to fight for a fair future.
The Kitchen is a light touch of a movie, more interested in themes and vibes than it is in plot. But sometimes a light touch can result in ambiguity and confusion. If you got lost while watching The Kitchen on Netflix, don’t worry, because Decider is here to help. Read on for a breakdown of The Kitchen plot summary and The Kitchen ending explained.
The setting is a dystopian version of London set some time in the vague future. We meet our protagonist Izi (Kane Robinson) as he’s getting ready for the day in a public housing slum known as “The Kitchen.” We learn, via a local radio DJ who goes by Lord Kitchener (Ian Wright), that there is limited water and resources available to these residents. Lord Kitchener urges the residents to work together and stand up for each other. We also learn that Izi has been approved for a new apartment in a much nicer building called Buena Vida, and that he has 21 days to pay the deposit to secure his place. He can’t wait to leave the “shithole” Kitchen, as he later tells his buddy.
Izi takes far more than his far share of water and time in the bathroom—a subtle indication he’s only looking out for himself, and not his neighbors—and then heads to work. He works at an “ecological funeral home,” Life After Life, which turns the remains of dead people into soil to grow trees. It’s established that this is an option for low-income folks who can’t afford grave plots. That means a lot of people who live in The Kitchen often end up using Life After Life when loved ones pass away.
One day at work, Izi recognizes the name of a dead woman, Toni, and he drops by for the service. Toni’s son Benji (Jedaiah Bannerman), notices Izi and confronts him after the service to ask him if he’s Benji’s father. Izi denies that, but he reluctantly agrees to give Benji a ride home on his bike. At home, Benji is not able to afford to live alone. He rides the (uncool, not motorized) bike left by his mom as a final birthday present, and heads to The Kitchen to look for Izi. Instead, Benji stumbles into a bike gang lead by Staples (Hope Ikpoku Jr), who take him in. The gang is especially impressed by Benji after he successfully shoots down a police surveillance drone.
The next day, Izi sees Benji hanging out with the gang. Shortly after Benji leaves Staples to say hi to Izi, residents begin clanging pots and pans. Why? To warn the neighborhood that the police are coming. Police raid the settlement, violently arresting residents for “illegally occupying privately owned property.” Izi and Benji manage to evade the police, and Izi agrees to let Benji stay with him in the Kitchen, on the condition that Benji stop hanging out Staples and Co.
Izi and Benji grow close living together and seem to have a good thing going. That said, they do argue over Benji’s mom. Benji wants to take his mother’s memorial plant home—or, at the very least, he wants Izi to tell Benji what the company plans to do with the plant. Izi is cagey and dodges Benji’s questions. Finally, Izi reveals—though in a somewhat cryptic and confusing way—that Life After Life doesn’t do anything with the plants. They just throw them away.
The date Izi is supposed to move into his new place is fast approaching. He inquires about a “two occupancy” apartment but is told he will lose his hold on the current apartment if he applies. Izi decides not to take the risk. He abandons Benji and moves into his fancy new place.
Benji goes home to the Kitchen alone. There’s yet another police raid, and this time, the DJ Lord Kitchen is beaten to death by police. The whole community hears it happen over the radio. Izi learns about Lord Kitchener’s death at work, where his service is widely attended by the mourning community. Benji rejoins Staples’s gang and participates in destroying and raiding the homes and businesses of upper-class citizens—including Izi’s new home—in retaliation for Lord’s murder. But Benji is disturbed by the violence, and runs back home to the Kitchen.
Back at the Kitchen, Benji finds Izi in their old home. Benji is understandably pissed at Izi for abandoning him, but he softens when Izi hands him the memorial plant for Benji’s mother. Izi must have stolen the plant from work, indicating that he may finally be ready to put himself on the line to stand up for his family and neighbors—just like Lord Kitchener wanted.
Benji and Izi re-pot the plant together but are interrupted by yet another police raid. They hide in the apartment and look out at the Kitchen while the police bang on the door. Benji asks Izi if he is his father, and Izi nods.
“Would you want me to be?” Izi asks.
“Let’s see how this goes,” Benji replies.
The screen goes black as the police continue to bang on the door. We hear the sound of the door breaking down, and with that, the movie ends.
So what does it all mean? Are Izi and Benji about to be arrested or attacked? Or will they live to see another day in the Kitchen? The movie leaves it open-ended. You might find that frustrated, but the point is that they will be together. Izi has finally learned that he needs to look out for the people in his community, and it’s clear he will stand by Benji’s side, for as long as Benji wants him to be there.
As for the plants—we never get a satisfying answer for what was going on at Life After Life. However, my interpretation is that it ties into the theme of gentrification and being forced to pay for land. Low-income people are forced off their land and given no place to live. More than that, they aren’t even given any place to die. They can’t afford land to be buried on, let alone live on, and so must be turned into a tree and planted “somewhere.” The revelation that “somewhere” is simply the trash, further adds to the idea that if you don’t have money, you don’t get to exist—in life or death—with dignity on the planet.
But the people of the Kitchen are fighting for their right to exist. The Kitchen asks: Why are we born into the world already owing a debt simply to live? Shouldn’t we all co-exist on publicly-owned land, instead of paying for private property? It’s just like they said in RENT: We’re not gonna pay rent, because everything is rent!