Kitchen Verité
The vibrant and raw energy of kitchens around the world.
Directed by Ian Cumming
In the short documentary Kitchen Verité, award-winning director Ian Cumming delves into the captivating world of photographer Jim Sullivan and his extraordinary project documenting the raw energy of culinary spaces across the globe. Using his Leica M6 and Tri-X 400 film, Jim’s black-and-white images capture the unfiltered moments of kitchens - where cultures collide, personalities shine, and the unrelenting pace of the “back of house” unfolds.
Inspired by Sullivan’s evocative photography and the growing cultural fascination with the inner workings of the food industry - Cumming offers a unique lens into this beautifully chaotic and vibrant world.
Jim Sullivan’s project, Kitchen Verité, captures kitchens around the world with a raw and authentic aesthetic. What drew you to this project in particular, and how did Sullivan’s vision and style as a photographer, influence your direction for this documentary?
I had been following Jim’s photography for years. He’s captured such a wide range of people, cultures, and environments, and over time, I developed a deep appreciation for his work. I’ve always enjoyed doing portraits of artists, probably because I find the creative process so fascinating and compelling myself. In a way, it’s how I try to make sense of the creative journey—by learning from other artists about their own process. So, I decided it was time to reach out to Jim and ask if I could make a short documentary about him.
I called him to express my interest and ask what he was currently working on. He told me the timing couldn’t have been better—he was just about to publish a collection of his photographs, "Kitchen Vérité." For the past 10 years, Jim had been photographing restaurant kitchens, and he was now distilling that work into a large-format coffee table book. We both agreed it would be a great idea to create a short documentary that would not only honor the project but also help spread the word about the book.
I knew that the food industry, and especially the kitchen environment, had been gaining significant attention in popular culture, especially with shows like The Bear and Chef’s Table. I’ve always been fascinated by the kitchen world myself—not so much the recipes or the craft of cooking, but the characters, the work ethic, and the culture of the "back of house" in restaurants. After reading books like "Kitchen Confidential” by Anthony Bourdain, my curiosity only deepened. So, I thought making a short film about Jim’s photography collection would be a great way to explore and share that world, and Jim’s incredible work.
We love how the documentary at times feels like we’re flipping through Jim’s camera. Could you elaborate on how you created this visual approach and what inspired you to bring Jim’s stills to life in this way?
I love that! During pre-production, I spent a lot of time thinking about how to incorporate Jim’s photos into the film. I didn’t want to simply cut from video footage to Jim’s stills in a predictable, A-to-B way. I felt that approach would have slowed the pace and drained the piece of its rhythm. I wanted the photos to stay on screen long enough for the audience to grasp what’s happening, but not so long that it loses the urgency—just enough to make them keep up with the story. The kitchen environment—the "back of house"—can be incredibly fast-paced and chaotic. Pans are sizzling, chefs are shouting, and everything is happening in a blur. It’s a beautiful, chaotic symphony of movement, so it was important the film captured that energy. My goal was for viewers to feel like they were right there in the kitchen with Jim, experiencing his photos firsthand from an exclusive and objective perspective.
Can you share with us any memorable moments from this collaborative process that stand out?
Honestly, I just felt so honored that the restaurants allowed our crew to film when we did. They couldn’t have been more welcoming, and I’m truly grateful. One of the restaurants we filmed at was Jeune et Jolie, located in Carlsbad, California. It’s Michelin-starred, which made me nervous about how strict they might be regarding where we could film, how much time we’d have, and so on. But they were incredibly gracious. After we finished shooting, they even treated us to some food, and I have to say—it was absolutely wonderful.
What led you to choose black and white over colour for the documentary itself? Was this influenced by Sullivan’s use of the Leica M6 and Tri-X 400 film?
Yes, exactly. We wanted the transition between showing Jim in the kitchen and showcasing his photographs to feel seamless in the edit. There were initial discussions between me and my cinematographer, Henry Quirion, about shooting the film in color, but we quickly discarded that idea. We felt it would be too distracting to jump between the two formats, so we decided to shoot the film in black and white, just like Jim’s photography. Also, this was my first time shooting a project on film, and it presented its own challenges. Film is expensive, and we had a limited amount to work with, so we had to be really conservative throughout production. We couldn’t just roll endlessly. We stuck closely to our shot list, and very little was left on the cutting room floor. It was a real learning experience for me. As someone who typically works in the documentary space, I’m used to shooting a lot of footage, but I couldn’t do that here. This project really taught me to be more specific and intentional in pre-production.
“My goal was for viewers to feel like they were right there in the kitchen with Jim, experiencing his photos firsthand from an exclusive and objective perspective.”
Did you encounter any challenges in editing the documentary, particularly when integrating Jim's still images with the live-action footage?
Editing the film itself was actually relatively straightforward because I had storyboarded everything in pre-production, but the music was a really fun challenge. From the very beginning, I knew exactly what I wanted for the soundtrack—I wanted it to be just solo percussion. I remembered watching Alejandro González Iñárritu’s Birdman in 2014 and being blown away by the music. Antonio Sánchez’s solo percussion drove that film forward with such energy and excitement, and I wanted to capture something similar for Jim’s portrait. It felt like the perfect fit because the drums reflected the energy of the kitchen.
A restaurant kitchen is an incredibly chaotic environment, but there’s also an order to it—a dance of motion—and I felt solo percussion beautifully mirrored that organized chaos. Through the audio library AudioNetwork, we came across Gareth Johnson and Evan Jenkins’s track “Suck,” which turned out to be the perfect fit. It’s an incredible piece of abstract solo jazz percussion—unpredictable in direction, yet undeniably thrilling. Editing the cut to this track I found to be a really interesting challenge, matching certain cuts to a snare hit, or using a cymbal crash to really empathize a piece of dialogue said by Jim in the voiceover. It was a really fun exercise to tackle in post.
With such a rich background in global storytelling, advocacy, and cinematic narratives, what’s next for you?
Jim and I are currently in discussions with Leica and a few other potential partners about using this film as a pilot to launch a longer-form documentary series that will delve into the world of restaurant kitchens. We’re in the process of developing the creative and aim to begin production in early 2025. In the meantime, I continue directing documentaries and commercials for brands, and I’m really excited about expanding my network, connecting with new collaborators, and taking on even more ambitious projects in 2025. Thank you so much to Curation Hour for featuring the film. I deeply appreciate it.
Talent / Photographer: Jim Sullivan
Director: Ian Cumming
DP: Henry Quirion
AC: Ariana Hoshino
AC: Matt Mardo
2nd AC: Mark Mardo
Editor: Ian Cumming
Colorist: Jack Tashdjian
Sound Mix: Lamps Lampadinha
Scans: Thom Kuo
Titles: Justin Holt
Camera Rental: Old Fast Glass
Gear: ArriFlex 235
Lenses: LVX Badalamenti Aurora Lenses
Film: Kodak
Restaurants: Birdie Gs & Jeune et Jolie
Bookstore: Now Serving
Commercial Printing Shop: Neyenesch Printers
Featured Chef: Eric Bost
Featured Chef: Jeremy Fox