Roma

No masterpiece needs a campaign that costs 30 million to win best picture....

The story of Cleo and her 'family' might hit a sensitive chord for many viewers who grew up not just in Mexico but in any Third-World country, maybe not just in the 70s but probably the 80s or early 90s.

By no means am I depriving the story from its cultural core but it was Roger Ebert who said: "The more specific a film is, the more universal, because the more it understands individual characters, the more it applies to everyone." Still, it's not just about the characters, I could relate to the context as well on a superficial but still deeply personal level.

Coming from a middle-class family of Morocco, we also had these girls who came from poorer backgrounds (generally rural areas) and whose treatment would look a bit like slavery from a European/"Western" standpoint. The term wouldn't be appropriate though as they were paid, certainly not mistreated and in most cases were considered like members of the family. Not all the ladies of the house treated them with respect but they were often loved by the kids as sister-figures or even surrogate mothers. I was practically raised by the same 'dada' from the age of 4, she dressed me, woke me up, cleaned me till I was 8 (my daughter does it alone since she's 3) and well, she was part of my life and I miss her a lot.

I could relate to the story of Cleo and I was glad that the film didn't take the predictable "clash of the classes" path: having her fired, being rejected or ending as a prostitute in some brothel of Mexico City... Cuaron is above these tiresome archetypes and his intention is clearly to take the opportunity of a nostalgic voyage through his childhood to show people with a strong capability of caring and being empathetic regardless of their origins or social backgrounds. And Cleo, played with mesmerizing naturalness by Yalitza Aparicio, is obviously a girl to inspire the very feelings she exudes: she loves the children she saw growing up since the cradle, she's devoted to her "Signora" Sofia, played by Marina de Tavira, and she values her luck to be part of that world... she knows she could have been unluckier.

It's also interesting that Cleo isn't conventionally good-looking, not in a glamorous Hollywood sense anyway, and her petite frame and youthful face illuminated with a wide smile accentuate her vulnerability. She incarnates a sort of third world within the third world, like an extra layer of fragility making her the perfect target for the kind of troubles no upper class European looking girl would get herself into. Though the film is overarched by the social and political context of Mexico circa 1970-71, I didn't feel like Cuaron tried to make some social commentary, maybe it's just a character study of a woman who could only depend on the kindness of strangers, like Blanche Dubois, but is able to find some inner strength to overcome a blind (but not malicious) adversity if not triumph over it.

And indeed, in her harrowing journey (that doesn't follow any pattern of cinematic predictability), it's less in what happens to her than the reactions it inspires. The film is less driven by plot points but the way people react and reactions to their reactions... or non-reactions for that matter. There is an interesting scene where a Karate master shows a trick that looks extremely easy until it's done with closed eyes, I don't know if it was supposed to symbolize one of the film's underlying messages, but it's true that many things that happen are due to people's obliviousness, carelessness or lack of empathy. And near the end, both Cleo and Sofia realize they had more in common than they would have thought, adversity strikes everyone... only in different ways. Blind again, but not malicious.

What I liked in "Roma", besides its realism, is the fact that it doesn't just try to depict a slice of life but Life with a major L, providing sights often suggested but rarely shown in the movies. Indeed, the film contains many graphic sequences including a naked male body (and I'm sorry to say that it's more distracting for me than a woman's... maybe because the thing "moves"... chuckles) and one that shouldn't be spoiled but that had me almost gasping with tears because it was the moment where many aspects of an editing that demanded some patience from us finally paid off, and I knew I had to expect a high spot of emotionality sometime in the film. Cuaron's "Roma" (whatever the title means) is truly daring by showing life and death with the same clinical detachment from his lenses, one that also shows in the climactic scene, hinted by the poster.

Now, I wanted to give he film a 10 because it has reached a cinematic level of perfection I rarely found in a movie but sometimes its beauty just feels so deliberate it becomes sophisticated. The film benefits from Alfonso Cuaron's perfect command of the camera (we're obviously talking of the Oscar-winner for Best Cinematography and maybe Best Director) but the cinematography tends to steal the story's thunder and compromises the film's attempt to be a realistic portrait of a Mexican's slice of life in the 70s in an atmosphere of love devoid of the cynicism we get from today's dysfunctional families. The children in the film are not only adorable but played with an authentic simplicity and since so many directors said it was a nightmare to direct children, Cuaron deserves a credit for that too.

So It's precisely because the story is so well told and well acted that I wished it wouldn't be so well directed... though I approve the choice of the black-and-white for no other reason that it gives the film a sort of dreamy aura fitting its nostalgia.

Overall, "Roma" is a great film with a few haunting moments.

First off, believe me, I tried to see it in theaters but it just did not play near me at times that were doable. I will try to see it if there are more screenings during awards season or anything, maybe that could happen.

Now to the good stuff, the film. It is truly incredible and I'm glad I kept my hopes and dreams in check and did, like usually, not even look at a trailer or anything. That was the best thing I could do. This movie for sure works best when you just jump right into it and give yourself to it.

I'm not sure where I should start with this piece of filmmaking but I think I'll just start with the performances which are absolutely brilliant and feel lived in. I truly believed in all of them and they did one hell of a job.

Now to the direction, the pretty much flawless direction. It is insanely intense and you can feel the deep passion of this project and all its meanings. The execution of this whole experience is one that can't be praised enough.

The main reasons why this remarkable movie works, in my opinion, are not its story but its characters that are so wonderfully brought to life by a dedicated cast, alongside the very naturalistic camerawork and of course the direction which is so personal and truthful in a way that is exceptional.

I am sure there is much more to unpack, talk about and praise about it, like for example the remarkable sound of it, but I'll leave it at that for now.

This is almost perfect to me, almost because there were some moments where it did not fully click for me just yet. Maybe it will completely do so after a second viewing.

Roma is obviously a must-see and whether you see it in the comfort of your home, hopefully on a 4K TV at least, or in a cinema, this is going to affect you undoubtedly and that is what huge films can achieve.

I already want to see "Roma" again.

It took me a good while to settle into the rhythms of Alfonso Cuaron's critically acclaimed new film, and by the time I did I wanted to go back and start it over to see what I might have missed. A lot comes at the viewer in "Roma," and it's hard to take it all in on a first viewing. No...that's the wrong way to put it. Nothing comes at you -- you have to go after it. That's what makes "Roma" unique. Cuaron crams his frame in any given scene with tons of movement and sound, but he shoots almost everything in medium and long shots and chooses to pan his camera rather than insert a lot of edits. The result is you have to decide what you want to look at, and while the main protagonist is in virtually every scene, she's not always necessarily the focal point.

That protagonist, by the way, is Cleo, maid to a wealthy family and played in a quiet and quietly devastating performance by Yalitza Aparicio. "Roma" is an episodic assemblage of scenes that shows what life is like for Cleo, without big showy emotional moments or much editorializing. She's treated fairly well by the family she works for, but make no mistake -- they rarely let her forget she's their employee. The film is a lot about privilege. The family treats Cleo as one of their own when they feel like it or when it's convenient to, but don't when it's not. She's part of their most intimate moments and they her's, but she'll never really be one of them. She has much to take care of, but nothing of her own to really care for. And there's a big wide world out there, the movie makes clear, that will never include people like Cleo.

For a while I was a little disappointed that I wasn't feeling "Roma" as much as I wanted to and as much as rapturous reviews led me to believe I would. I was engaged by it, but I didn't feel heavily involved emotionally. But then pretty far into the movie something happens to Cleo, and in that moment I realized how invested I was in how things turned out for her. "Roma" sneaks up on you in that way.

Grade: A

Full of life in every shot, Alfonso Cuaron has proven that he is one of the greatest directors of all time. Deserved every nomination and it's going do dominate the Oscars for Sure.