Film Review: Roma

Director: Alfonso Cuarón

Starring: Yalitza Aparicio, Marina de Tavira, Diego Cortina Autrey

Running time: 135 mins

Roma is a tender and intimate portrayal of a simple set of ordinary human relationships playing out in a normal, yet extraordinary way. It is also very much an autobiographical story (the idea of which has apparently been nurtured for years by director and writer Alfonso Cuarón) and is based largely on Cuarón’s memories of his family growing up, in particular those of his nanny/maid Liboria (or Libo), to whom the film is dedicated, and who acts as the foundation for the character of Cleo.  Cuarón himself is echoed through the actions of Paco, one of the children Cleo takes care of. The director also supposedly borrowed furniture from family members in order to recreate a version of his childhood home, as well as building a full two block replica of 1970s Mexico City. It is so authentic that it becomes almost impossible to believe it’s a film set at all, and not a direct viewpoint onto the real streets and the real past.

The film is a vast and wide-ranging achievement that takes in both the larger political atmosphere and turmoil that Mexico was going through at the time and the smaller more intimate details of a family unit that exists, works and grows together, breaking through the boundaries set by class, race and social expectation. To compliment this perfectly, newcomer Yalitza Aparicio was plucked from obscurity to play the lead, Cleo, and now finds herself nominated for an Oscar for Best Actress.  Her performance is phenomenal, but does not make for easy viewing. I kept having to tell myself that this was just a film, and not a documentary, particularly with a graphic and quite shocking hospital scene. Cuarón has an amazing ability to capture the essence of what it is to be human and to live a normal, painful, loving life filled with all the pieces that make up a person. There is a grace about Cleo that Cuarón lovingly reveals, bringing into focus the quiet strength and resilience that she has. In one particularly beautiful moment Cleo, standing unnoticed at the back of the crowd, is watching a martial arts class attempt a deceptively difficult meditation, when we see that Cleo alone has the poise to carry it out.

But what makes Roma stand out even further than the incredible cinematography or the amazing characters, is the interesting new approach made through choosing Netflix as the distributor.  There have been a series of controversies around releasing films through streaming services; in 2017, Cannes refused to accept films without traditional distribution which has led to Netflix boycotting them completely this year, taking Roma to the Venice Film Festival instead. Cuarón has been vocal in his support for streaming platforms like Netflix, so it makes sense that he chose to make a deal with them. There is also the possibility that he also chose to do it this way so that Roma could potentially become one of the most widely distributed international/foreign language films, whereas previously there were limitations on which cinemas would choose to screen it.  Seems pretty smart to me.

Not only is this Cuarón’s first film in five years (since 2013's Gravity), but it is also his first film set both in his home country and in his native language since the acclaimed Y Tu Mamá También was released in 2001. It feels as if Cuarón is not just coming back to his roots, but triumphantly refocusing his undeniable talents on the people and the issues that are closest to his heart and artistic vision. Having won both Baftas and Golden Globes, Roma is now headed towards the Academy Awards with ten nominations, and I would, as they say, eat my own hat if it doesn’t win some or all of them.

Did you know? The lengthy delivery scene in the hospital was only shot once. The doctors and nurses were real, not actors, hired to make the scene feel more authentic.

Roma is available on Netflix now