Roma

Netflix once again proves that it doesn’t limit itself to commercially successful titles, but is also happy to fulfil the dreams of directors who deserve it. There is no doubt that Alfonso Cuarón is one of the greatest directors of the decade. As many people have mentioned already, Roma is his most personal project, which means that those 135 minutes pass by very slowly and quietly, and I found some moments slightly boring… but because everything is shot in such a brilliant way, referring to the best filmmakers of the last century, this film shouldn’t be ignored. (2018-12-31)

A film with the very distinctive signature of its creator, Roma tells a story about the fragile aspects of life more through its visual art than through the faces and dialogue of its characters. Though it does work with dialogue and facial expressions (and Yalitza Aparicio is great), it does not offer the audience a universally appealing, traditionally emotional message (the film doesn’t even have any “viewer-manipulating” original music). After using his extraordinary filmmaking talent for the commercial blockbuster Gravity, Cuarón wanted to enjoy some pure filmmaking pleasure, without any obligations to studio investments. Roma is a brilliant piece of art in which I admired every shot (three or four scenes were quite disturbing to me) and perceived and acknowledged all of the social references (class-based society, the extraordinary strength of a woman with a difficult fate), but it did not engage me emotionally as much as Gravity or Children of Men. (2019-02-07)

I feel like I have to like Roma if I want to consider myself a film connoisseur. I'm not even close to being one. I'm just a casual viewer. I watch movies that I assume I might enjoy, or ones I want to see if I might happen to enjoy. This movie was in the latter group. I found the answer. I didn't much enjoy Roma. It was too "artsy" and lethargic for me. What I can't deny this film, however, is the atmosphere and the interesting cinematography. The film certainly has other bonuses, but unfortunately I can't appreciate them properly, at least not yet. (2019-03-25)

A singular expression of emotion primarily through the camera, instead of dialogue and music. A unique directorial achievement in uncompromising black and white, non-mainstream, with overlong camera shots and some brilliantly staged sequences (the birth). An ode to art filmmaking and a myriad of technical finesse, but, save a few exceptions, you won't hear a single full-blooded heartbeat. (2019-04-20)

The surreal power of this film, I think, stems from three things. The first is actually a very ordinary story of a completely awkward main protagonist, which is almost documentary-authentic, personal and 100% impressive thanks to the ordinariness and the awkwardness. The second thing is, without exaggeration, the masterful direction of Alfonso Cuarón. That really needs to be seen. You could create the perfect art photograph from perhaps every shot, it's all thought out to the smallest detail and the black and white camera with the hearty help of sound (something we can't see at all, just we hear it) makes it a feast for the eyes (for example the monumental forest fire scene). The third thing is how the story and presentation “work together" - everything is natural, long camera rides or still shots do not distract from what's happening right now, the scenes beautifully complement each other, form a single whole, etc. I was originally expecting something from Roma in the style of Tornatore’s Malena. It's a completely different film though, completely great in a different way. And the scenes in the maternity ward or on the beach... You simply do not forget them. (2018-12-29)