The first piece of Roma is the cinematography, which won its respective Oscar this year. The film is entirely in black and white, a visually appealing choice which works very well with the intricate, detailed shots of Mexico City. From rooftop washing sessions to the harrowing depiction of the Corpus Christi Massacre in 1971, there is not a single bad looking shot in the film. These shots also retain their interest despite the long cuts, focusing more of the audience soaking up the atmosphere of a scene rather than forcing the story along, adding a much more personal touch to the film.
Going into the film itself, the first choice that might put mainstream audiences off is the choice to keep the film in all Spanish, despite the wide Netflix release. However, Cuarón chooses to bring his audience to Mexico City rather than showing it to them, and the subtitles never feel in the way of a shot. This choice of immersion over presentation is most likely based off of the personal factor of the film, as 90% of its contents are taken from Alfonso's life as a child, as well as his family's maid, Libo, whom Roma is dedicated to.
Knowing this, the film becomes a lot more potent. Yalitza Aparicio's performance as Cleo is emotionally powerful and increasingly relatable as the story progresses. Going into her hardships would give too much of the film away, but she shines in the two biggest scenes in the film, including the beach scene depicted by the film's poster. Also great in the film is Marina de Tavira, who plays Sra. Sofía, the mother of the family. Her character's arc of keeping her family together is compelling throughout and gives a relatable figure to some. Because of Cuarón's personal attachment to the story, however, the film feels like an homage for the women that raised him in Mexico City, which is supported by the note in the credits "Para Libo" (For Libo).
The story, however, is what is truly amplified given the personal side of it from Alfonso. Cleo's story of her pregnancy (which is shown early in the film) coinciding with the family's sudden changes and Sofía's attempt to hold it all together makes for a chaotic yet relatable look on life. The addition of the film's focus on the balance of life is shown best here, as for every chaotic moment (such as the Corpus Christi Massacre), there is a moment that slows down and celebrates life, such as a touching moment of Cleo and the family sitting down watching television, laughing and smiling together. Despite the story's focus on the idea of balance, Cleo is meant to be the focus of Cuarón's idea that life will always be balanced, and that balance is what gives it its beauty. This is shown very literally in a scene where Cleo visits a martial arts training session which is focusing on balancing on one foot. Besides the instructor himself, Cleo is the only one out of the large group of martial artists and onlookers that can successfully replicate that balance, reflecting her inner peace despite everything that has happened to her. Cuarón's subtlety in presenting this view is extremely commendable and shows his understanding of film and what it can represent.
On a personal level, I would claim this to be an absolute masterpiece of a film. There is so much going on that drives the story at an entertaining pace, while also feeling slow enough for the audience to stop and just marvel at the scenes. This is without a doubt one of my favorite films of all time, if not my new favorite. I could endlessly recommend Roma, and would gladly give it a Good Good rating.
No comments:
Post a Comment