Roma Movie Review

Roma Movie Review – If there’s one thing you need to know about this year’s Best Picture Oscar race, it’s that it’s true

. It is easy to imagine at least half of the candidates winning with the big prize, but the poetic and very personal drama of Alfonso Cuarón

Roma Movie Review

Collect many awards. Ahead of the ceremony, here are some important things to know about Roma.

To Rome With Love

This is Cuarón’s most personal project to date, and was in the works for 16 years before production finally began in 2017.

Follows Cleo (Best Actress nominee Yalitza Aparicio), a young domestic worker living in a middle-class family in Mexico City, and draws heavily on Cuarón’s own 1970s childhood, praising the women who raised him. The intimate story of Cleo’s relationship with a fractured family and her unplanned pregnancy is set against the backdrop of the sociopolitical turmoil taking place in Mexico at the time. The film is named for Colonia Roma, the district where the family lived.

“Ninety percent of the scenes represented in the film are scenes taken from my memory,” said Cuarón, per

. “Sometimes directly, sometimes more obliquely. It was about a moment in time that shaped me, but also a moment in time that shaped a country. It was the beginning of a long transition in Mexico.” The film is a love letter to Cuarón’s mother, Cristina Orozco, and to her family’s housekeeper, Libo Rodríguez, who was instrumental in raising him. “She’s seen it two or three times,” says Cuarón

Il Principe Di Roma (2022)

. “He’s very loving. He cries a lot. The beautiful thing is that when he cries it’s not because of what happened to him, it’s because he cares about the kids. He doesn’t focus on his own pain.”

Aparicio echoed that sentiment in an interview with BAZAAR.com, discussing how the film feels very personal to him as well; his own father abandoned his family when he was a teenager.

I think a lot of mothers do that—they stay, they go through all the pain, everything is kept inside them, to protect the family. Children don’t know that mothers do those things until much later … Women are very strong and fight for many things and against many things, and all for the well-being of their families.”

“We shot the film in sequence. She gave us that gift as an actress,” Marina de Tavira, who played the role of Sofia’s family matriarch, told

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. “We’re dealing with a character who lives day after day. I was told in acting school that acting is always in the present tense. That’s never been the case for me like it is with this.”

Although Cuarón has a full screenplay for the film—written in a sprint over several weeks in 2016, each

—he chooses not to give his actors a full script, instead discussing scenes with them and giving directions every day. “He would give me a scene the day before on paper but it wasn’t complete and he would change things,” says de Tavira.

Won Best Picture at the Oscars tonight, it’s already made Academy Awards history in more ways than one. First, it’s the first Netflix Original to be nominated for Best Picture. Much has been made of the fact that Amazon beat Netflix to the field two years ago with

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, Cuarón also tied the record for the most individual nominations for a single film, as he was recognized as a producer, director, writer, and cinematographer. Only Warren Beatty, Alan Menken, and the Coen brothers had done it before—Beatty for

Emma Dibdin is a Los Angeles-based freelance writer who writes about culture, mental health and true crime. He loves owls, hates cilantro, and can find weird subtext in anything.

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Nothing At Stake

Here’s What Zoë Kravitz Thinks About Oscar Slap Jada Pinkett Smith Breaks Silence On Will Smith Slap Officially Apologizes To Star Chris Rock’s Reaction To Will Smith Slapping Chris RockAlfonso Cuarón is one of the world’s most extraordinary directors. He is not closely associated with any particular genre, and while there are recurring cinematic elements in his films—long panning shots come to mind—he does not have what most moviegoers would consider a signature style. He has made, among other things, raunchy and idiosyncratic coming-of-age stories

; the best of the Harry Potter movies, Harry Potter and the Prisoner of Azkaban; the extraordinary dystopian fable Children of Men; and an interesting exercise in spatial—literally

, his latest and most personal work—an ode to his upbringing in Mexico City in the early 1970s—is a marvel: frame by frame, scene by scene. It’s quite possibly both the best film of Cuarón’s career to date and the best film of the year.

Is that it is simultaneously narrow in focus and broad in scope. It opens with a shot looking down from above on a cobblestone that, after a moment, is covered with water. A reference to the first shot of The Umbrellas of Cherbourg? I tend to believe so. But in this case, water flows not from the sky but from a bucket. This is not a public street but a private yard, mopped by Cleo (Yalitza Aparicio), the maid and nanny of a wealthy Mexico City family. The distinction between employer and employee is quickly made explicit in terms of both culture (while much of the film is presented in subtitled Spanish, Cleo, who is of indigenous descent, often reverts to a rural Mixtec dialect) and race: Cleo is dark-skinned, while the families he served could hardly have been whiter if they had emigrated from Sweden.

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The family consists of a mother (Marina de Tavira), a father (Fernando Grediaga), four small children, a dog, a cook (Nancy García), and a grandmother (Verónica García). But through the eyes of Cleo, the film is told, and she is the most perfect cinematic interlocutor: central, intimate with everything that happens in the household, even more than the parents themselves. Yet he is still, at a fundamental level, an outsider, with all the necessary perspective.

At the beginning of the movie, Cleo is pregnant. His impregnator is a terrible man, and he is initially presented to the audience in the most obvious sense of the word: full nudity in front, for a prolonged kung fu fight using a shower stick. It seems no accident that he is—in moral terms, plot functions, and physical evidence alike—a “rod”. Complicating matters further, the patriarch, another horrible man, leaves the household for a mistress, requiring the mother to offer even more extravagant lies to her children about a never-ending “business trip.” Cleo is stuck in a semi-conscious perpetual twilight zone, hearing the news of the family’s dissolution, but never being brought to full conviction.

I won’t go into the rest of the plot in any detail, partly because it’s unnecessary: ​​In Cuarón’s hands, the scene in which the young brothers play shootout with toy guns on the roof and then block the inspection of drying clothes on the line is much more fun. bigger than most of the cleverest cinematic subplots this year.

Captures, as well as any film I’ve seen, the spirit of “magical realism,” without ever hinting at the supernatural. The magic is pure and amazing cinematic technique.

Roma’ Film Review: A Stunning Piece Of Personal Cinema

Is funny without being comedic. (Of course, no other quality film has ever leaned so heavily on the idea of ​​dog poop as a central narrative metaphor.) And, until its final act, it moves without indulging in melodrama. I should warn potential moviegoers that, in the last third,

Has not one but two scenes that threaten to break your heart to a degree few films have ever managed. I didn’t see these moments coming. But by its conclusion, Cuarón’s film proves itself beautiful and terrifying. Look at it. You will never forget it. Movie review: Cuaron returns to his 70s childhood with ‘Roma’ Film explores the gap between rich and poor in Mexico

Like Francois Truffaut’s “The 400 Blows,” Mexican director Alfonso Cuaron’s “Roma” uses black-and-white footage throughout, extended to evoke an almost documentary feel, even as he hearkens back to his own childhood.

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Movie Review: Cuaron Returns To His ’70s Childhood With ‘roma’

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