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2.157 Puanlama


Yönetmen Alfonso Cuarón
Meksika, ABD, 2018


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.

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Roma Yönetmen Alfonso Cuarón

Ödüller & Festivaller

Venice Film Festival

2018 | 2 ödül: Golden Lion

Academy Awards

2019 | 7 dalda aday: Best Actress

2019 | 3 ödül: Best Director

Independent Spirit Awards

2019 | 1 ödül: Best International Film

Toronto International Film Festival

2018 | 1 üçüncülük ödülü: People's Choice Award

[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
Bütün yazıyı oku
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
Bütün yazıyı oku
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
Bütün yazıyı oku

İnsanlar ne diyor?

  • chanandre's rating of the film Roma

    [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.

  • Wee Hunk's rating of the film Roma

    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.

  • msmichel's rating of the film Roma

    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.

  • Nicholas Gregory's rating of the film Roma

    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.

  • Huey McEvoy's rating of the film Roma

    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.

  • Graveyard Poet's rating of the film Roma

    A heartfelt and sad story that touches on many issues in Mexico during the 1970s, such as absent fathers, divorce, and political violence. Yet the audience only sees Cleo as the family's maid. Cleo's own indigenous life is missing. This would have deeply enriched the film.

  • Duncan Gray's rating of the film Roma

    Cuaron's use of the long take continues to conjure a world spreading out in all directions, and it allows the simplest of plots—an unwanted pregnancy, an imploding marriage—to find a social and personal context with fragments of lives criss-crossing through the frame. I've been waiting for this for a decade: a streaming service has produced the year's best film—and in doing so has proved how much we need theaters.

  • Matthew Martens's rating of the film Roma

    A film sure to elicit vastly different responses depending on one's degree of familiarity with the macro-events it depicts, Roma deploys a very real historical trauma as political correlative to personal and domestic crises. What remains? Exquisite compositions, extraordinary immersion--for which surround-sound trumps screen size--plus lots of beautiful, buzzing, human confusion, and, ok, a little facile symbolism.

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