Page 109 - Metropolis Megazine No.120 International

The kitchen is more than a works- that run through the mind, and in (Abby Elliott) is the only character
pace: it is the place where the uns- the illusion that mirrors fear. who defies this pattern. She balan-
peakable is hidden. Between pre- ces care and restraint, attempting
cise cuts and repeated commands, Despite each character's inner ten- to hold everyone else together des-
the characters discover a way to sion, it is in their relationships that pite her own imminent collapse.
exist without exposing themsel- «The Bear» reveals its most discon-
ves. Repetition numbs, while noise certing side. The bond between In «The Bear», no one is whole.
protects. Working is an escape— Carmy and Sydney (Ayo Edebiri) Each character lives with structu-
from grief, loneliness, and the fear oscillates between admiration and ral flaws, distorted ways of loving,
of stopping. During the shift, there frustration, as if both see in the and silences that weigh more than
is a clear function, a rhythm, and a other a promise that never comes any confrontation. Still, it is in this
focus that keeps away what causes to fruition. With Richie (Ebon unstable space—of urgency, frus-
suffering, but when the shift ends, Moss-Bachrach), intimacy is sha- tration, and poorly learnt care—
the body slows down and the mind ped by past hurts and an affection that they try to create a sense of
has nowhere to hide. What seemed that only finds expression in anger belonging and connection. The res-
like order was just a pause. And or irony. And at the centre of it all, taurant is just a pretext. The real
everything returns, without ever a profound absence—that of the work is something else: living with
really having gone away: it is in the mother (Jamie Lee Curtis)—hangs what you have, even when it's not
flashes of memory, in the images like a constant presence. Natalie enough.

METROPOLIS JULY 2025 109