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Avis des critiques
Roma
Alfonso Cuarón Mexique, 2018
[Cleo’s] baby dies in the background, in a scene that disturbed me more for its virtuosity, which seemed out of touch with what was happening in it.
February 22, 2019
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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.
January 20, 2019
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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.
January 15, 2019
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From the first scenes, the sensory details of the world [Cuarón] paints, the leisurely pace with which he paints it, and his nonjudgmental comprehensiveness attach themselves to a viewer’s heartstrings.
January 12, 2019
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Yes, there are limitations to its gaze, as with any story told by a second-person narrator, but with its crisp black-and-white photography, impressively choreographed long takes, and painstakingly detailed production design, accompanied by an astonishing use of diegetic sound and music, Roma is a masterful spectacle.
January 05, 2019
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It’s so rare for the very properties of cinema to become the centerpiece of a popular film: whether watching it on screens mammoth or miniscule, viewers of ROMA are invited to feel the weight of experience through sound and image design.
January 02, 2019
Roma’s most preeminent achievement seems to be winning back an invigorating dose of authenticity of the real for the cinema, particularly via the long take.
December 28, 2018
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Both [Roma and At Eternity’s Gate] wrest the sensuality of cinematic scale and soundscape back from its usual association with the Hollywood blockbuster.
December 20, 2018
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Roma’s 1970s cosmos may have been judiciously recreated from scratch by Cuarón (whom production company Netflix awarded a whopping 108 days to shoot), but the feeling here is to enter a world that’s been left untouched in years, a spirited place abandoned since childhood and revisited for one last, heart-quickening farewell.
December 20, 2018
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Cleo hardly speaks more than a sentence or two at a time and says nothing at all about life in her village, her childhood, her family. She’s a loving and caring young woman, and the warmth of her feelings for the family she works for—and theirs for her—is apparent throughout. But Cleo remains a cipher; her interests and experiences—her inner life—remain inaccessible to Cuarón.
December 18, 2018
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In this transaction—according to a New York Times profile on the director, Rodríguez refused monetary compensation—Cuarón leverages his familial access and plunders the memories of his former nanny to use them as raw material. But before finding value in her story, he must infect her gaze and hollow out her point of view.
December 17, 2018
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I can’t recall another art movie so openly patronizing toward its subject, yet so self-flattering of its maker’s largesse.
December 17, 2018
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An overwhelming resurrection of a time and place, a whole era, the swarms of extras living out complicated vignettes going on behind the action, seen briefly, gone in a flash. The city bristles with life. Cuarón’s film is a determined act of memory and a work of powerful tribute.
December 14, 2018
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He [Cuarón] chose to make an epic effort to tell an intimate story. He made a conscious effort to tell this story devoid of the trappings of Aristotelian three-act structure but he did so with what is, to date, his most precise, his most breathtaking use of cinema as a language and a medium.
December 13, 2018
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You could almost live inside Cuarón’s intricate, pulsing wide-screen compositions, borne along on the movements of his sweeping, swooping camera.
December 05, 2018
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These counterbalanced, even counterintuitive impulses of self-importance and selflessness are the poles that define Roma, a contradictory tension which brings the movie close at times to collapsing upon itself – and, paradoxically, acts as a guarantor of its endurance.
December 01, 2018
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The dynamic between the things we try to keep in the center of our consciousness and the things we push aside or ignore is what makes Roma a great film, one which revivifies André Bazin’s paradoxical theory of cinema—that it mummifies the past, thereby making eternal what was necessarily contingent.
November 29, 2018
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Many directors use spectacle to convey larger-than-life events while reserving devices like close-ups to express a character’s inner being. Here, Cuarón uses both intimacy and monumentality to express the depths of ordinary life.
November 20, 2018
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It’s a flat-out technical marvel. Using black-and-white 65 mm digital cinematography and up-to-the-minute sound mixing technology, Roma tells a story at once intimate and epic, or rather, a story that’s capable of moving from intimate to epic and back again within the space of one long, kinetic take.
November 19, 2018
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Though running just over two hours, the film feels like an epic, with the sweep and detail of a great 19th century novel.
October 16, 2018
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It’s undeniably virtuosic—thrillingly so. But it rarely calls attention to itself or, more precisely, to its own constructedness. Instead, from its first frames, it establishes a studied formal approach that breaks decisively from its predecessors and establishes a more subdued “art film” aesthetic.
October 07, 2018
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Cuarón mixes classical and modern modes of melodrama so freely that Romacalls to mind Francis Ford Coppola’s ’80s films, which used similarly old and new Hollywood techniques to craft stories that wedded nostalgia with clear-eyed social commentary.
September 20, 2018
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It evinces a hyperrealism achieved not through visceral technique that interprets verisimilitude as hectic impressionism, but rather as the extreme density of historical and social observation of everyday things made monumental by overwhelming production design, massive film format, and the big screen.
September 16, 2018
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Octavío Paz once wrote that the “history of Mexico is the history of a man seeking his parentage, his origins.” Among the most remarkable things about Cuarón’s most personal film is that it locates his parentage in the story of Cleo, an indigenous woman inspired by the women who looked after his childhood home and helped raise him.
September 04, 2018
As in his 2006 Children of Men, Cuarón impeccably links the personal and the political into dense scenes that reproduce the sudden yet inexorable nature of trauma; through his use of plans-séquence, he interweaves the individual and the collective, the private and the public.
September 03, 2018
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Cuarón directs with his usual utter control and flair. The film is set in 1971 (when the director would have been ten years old), and the period details are impeccable–especially the family’s Ford Galaxie, which provides a running gag whenf characters try to maneuver it into a narrow garage.
September 02, 2018
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It’s a sensory, profound work, but what makes Roma really triumph is that none of it was truly made to satisfy an audience.
August 31, 2018
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What’s remarkable about Cuarón’s new feature, ROMA, premiered this week in competition in Venice, is that it achieves a sense of closeness and of the intensely human while using resources that are, by conventional art cinema standards, imposingly expansive.
August 31, 2018
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I was moved by “Roma”; it gave me all the feels that I myself wasn’t having in 1971. (My own parents didn’t divorce until I was in my early 20s, which is both less and more awkward at the same time I think than having them break up when you’re 11.) It works both as a personal statement and a larger philosophical humanist love letter to life itself.
August 30, 2018
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A film of such delicate power that it feels strangely wrong to characterize it as “great,” though that’s probably what it is.
August 30, 2018
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