A key part of the look of the movie is the rich saturation in the dark tones.
On the previous page, niravsheth posted some art from the movie along with his render. Look at the right wall, how richly saturated the purple is, even in the shadow of the shelf. There’s a CG cliché of having your shadows and occlusion go into dark grays and look desaturated that needs to be actively countered and fought in many places to keep this look.
Right below it, Assadshk21 has an even better example of this. He has a still from the movie posted along with his render. Look at the side of the visible side of the stove that Colette is standing at. Even the reflections are a rich red color, and under the stove the shadow tone is a red amber. Compare that to the render where the shadows under the stove go into gray and black. I can’t say all the shadows need to be lightened, because the area under the far stove in the distance seems very bright as if there’s a light leak, but certainly some warmer reflections and shadow tones could be added in many places in the image.
Also, take a look at the ceiling lights. If something is really bright, it should proceed from a desaturated white at the core, just in the brightest spots, out into a more colorful warm brightness outside the core, with more saturation as you move into dimmer tones. For a light that bright, a little bloom that could be added in post could better integrate it into the scene. On the right side of the render, there are warm colored heatlamps on the ceiling, the reflections of those could use a little de-saturation in the core, just to show that they are brighter than the pots they are supposed to be lighting on the screen-right side. Once you have that warm light in the area, there should be warm bounce behind the heatlamp reflectors, and warmer light on the bottles and spoons below it, as well a warmer tone on the food cooking there.