This film chronicles a middle-class family in the 1970s who dwell in the Roma neighborhood, in Mexico City. The restrained film is mostly seen through the eyes of the family’s young housekeeper, Cleo who’s viewed as an extended member of the family and she is treated just like one of them.
এই ফিল্মটি এখন প্লে না করা হলেও অন্য 30টি অসাধারণ ফিল্ম MUBI তে দেখানো হচ্ছে। এখন কী দেখানো হচ্ছে তা জানতে এখন দেখানো হচ্ছে এ যান
Cuarón has spoken of the guilt that likely steered the film’s focus towards Cleo and away from a more explicitly self-centred exercise in recreation. What might feel a little grating, I think, is the attempt to assuage post-hoc guilt through an auteurist reach that, by nature of its content, indulges self-reflexivity.
This may seem like an old argument about the relevance of auteur theory or the inevitability of artistic imitation. It is neither. Imitation or appropriation, like any other artistic approach, can and has been a valuable method of creative practice. Roma, on the other hand, does not acknowledge its debt to this practice, nor its debt to the dialectics of time.
[Cinema Monumental] Best film of the 21st century. Cleo/Señora Sofia are México, are air, are us all.// Roma as in romance. Roma as in ramo. Roma as in rombo. Roma as in rancune. Roma as in ricordo. Roma as in roçanço. Roma as in receei. Roma as in ri. Roma as in re-ri. Roma as in reli. Roma as in Recordar-te-ei. Roma as in (er)rei. Roma as in reset. Take care of Leonetta for me. (Capri c'est fini). Adeuses.
The film cost $15M to make and they spent $25M on the Oscar campaign. I generally miss most of the Oscar bait movies each year because they tend to be inspirational. My favorite film of 2018 so far is 'Pity' by Babis Makridis. This is not a bad film, but you can see its intent.
Alfonso Cuarón's filmmaking style of long takes, impeccable visual details, and love for contemplative moments is on full display with "Roma." You may find yourself moved in the most subtle ways by the way he lingers on tragic moments or instances where embracing each other is the only thing that feels right. The film lacks in character development, but its richness mostly compensates. Yalitza Aparicio is special too
Just an absolute delight to watch. The impeccably assured cinematography and direction, nuanced performances, stunning period design and a world just brimming with hope for the future had me falling in love with this. Highly recommended! 5 stars
Cuaron's most personal film has resulted in a rich and emotional journey which may well be a career best to date. Shot in glorious 65mm b&w the film is a gorgeous achievement in both cinematography and editing well deserving its accolades. Casting is superb with both Aparicio and de Tavira impressing throughout. One of the year's best.
I can't really explain how a film that didn't really work for me in its first half, a film with performances, story and even the camera work which couldn't connect with me...became a monster of a film in its powerful and very engaging second half...without changing much? Cuarón is unmistakably a master of this craft and yes, it is a bourgeois view of it and no, Yalitza won't win an Oscar, but somehow I loved it.
Cuaron films often have a problem in their telling, either being undershot in creativity (Y tu mama) or having auteuristic directing in a shallow and non-auteuristic story (CoM). You can call those films melodramatic, but I’d be damned to call them in-succinct or non-emotive. Roma is. Drifting without dramatics for an eternity trying to earn worth VIA the sum of its parts and not earning a heart in its style.
Cuarón is the modern master of mise-en-scène: there is precisely nothing in any frame of his films that he does not want you to see. As with Children of Men, it's the details in the background that inform the thrust of the narrative and characters. There are at least a dozen scenes of such breathtakingly beauty that I could scarcely believe what I was seeing.