Roma

I find it very difficult to comment too much in-depth on films like this, films which are so essentially personal to the film maker. And although many films to a certain extent will be personal, Roma – like Martin Scorsese’s Silenceis so deliberately and deeply rooted in the experiences of the writer/director/cinematographer Alfonso Cuarón that my opinion regarding the storytelling is largely irrelevant.

And so while I would have been interested to know more about the political background at the time, we don’t get that because the children wouldn’t have paid attention to it. And there is a whole other film to be made about the relationships between the people of Mixtec heritage and the white affluent families whom they serve.

Where I do have huge appreciation though is with the technical achievements. Roma looks absolutely beautiful, with the choice to film in black & white creating some gorgeous images, and also having the effect of reinforcing the feeling of memories being revisited. And there are some glorious long scenes which show a true master at work – the scene in the hospital emergency room for example, or the extended take on the beach are genuinely breath-taking.

For those familiar with Cuarón’s previous work, Roma contains visual references to many of his earlier films – Children of Men, Gravity, Y Tu Mama También – almost as if he had been trying out things in the past, in preparation for this, a film which he has been waiting to make for most of his life.

I liked it very much and I admired it a lot on a technical level – I just wasn’t quite as overwhelmed as I was expecting to be.

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