Roma

A normal viewer who seeks spectacle and entertainment while watching movies will most likely be unimpressed by Roma. However, I think that for festivalgoers and a club audience, the film will represent the embodiment of what an artistic film should be. It was filmed in a similar manner as in the 60s and 70s when authorial and autobiographical works were in their prime and enlightened producers invested in them without hesitation. It was a time when directors commonly cast non-actors, and Cuarón does the same here. He is not afraid of improvisation, and the same goes for the Mexican directorial star. Roma feels genuine and authentic. Granted, I am not an expert, but the atmosphere of Mexico City in the early 70s seems perfect to me, as well as the casting. Cuarón must have paid maximum attention to the casting, and Yalitza Aparicio does not play the role of a servant, she simply is one. Devoted, resigned to her position, slightly naive, intoxicated by her first sexual adventure, and confused by the subsequent indifference. Her presence and precise camera work are the director's greatest weapons. The black and white visuals refer to the era of European art film of the 50s and 60s. In many shots, it felt as if I was watching a documentary from that time in the Mexican capital. Thanks to the monumental visual compositions, Roma should be seen on a big screen, which I managed to do after a long search. I would even dare to say that it loses a significant amount of impact on a small screen. It is a slowly flowing intimate film that, although not feminist in nature, mostly depicts the world and emotions of women. Overall impression: 85%. (01/12/2020)

The best works of the Czechoslovak new wave (although Fellini would know one in that) has just grown to include a related Mexican cousin, who in the circles of “more demanding" viewers can perhaps not even evoke many captivating Mexican waves. Which is so telling that I will forgive the originally intended hymns for every single aspect, from non-actors through filming and sounding to the sophistication of the narrative, which completely fulfills the saying “the devil is hidden in the details". What Cuarón, as a screenwriter / cinematographer / director, can “as if inadvertently" do in mise-en-scène (or purely noise outside the picture) in mere hints, is more than admirable. To make matters worse, despite the seemingly primordial coldness, this “celebration of ordinary strong women in our lives" is also captivating and arousing emotions like a few movies in recent years. Roma looks like a film that was five decades earlier. However, thanks to its qualities, it would not be forgotten, even if it was actually created fifty years ago. On the contrary, it would be lovingly remembered in the intentions “such master pieces are unfortunately no longer filmed today". Thanks to Cuarón, however, this is not the case; and for that one must be infinitely grateful, whether ultimately Roma is his cup of coffee or not. (16/12/2018)

The rumors didn't lie, at least not in terms of paying tribute to mothers and women in general. However, at the core of the whole epic, there is nothing but confirmation of the known truth that, in the end, the fairer sex is stronger and more prepared for life. The skill with which Alfonso Cuarón builds a complex dramatic arc in the midst of what seems to be an ordinary situation is undeniable. The only problem for me, one that persists throughout the entire film, is the way the twists are delivered. Very few things bother me as much as when a character indulges in long, uninterrupted shots during an instantly induced depression. It's nothing more than a call for artificial attention that causes the cohesion of family and life's upheavals to crumble before my eyes. (17/12/2018)

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. (29/12/2018)

Roma isn’t love at first sight, it’s not a film that would hook me in the first minutes keep me hooked all the way till the end. But, after two or three days, it did grow on me. Cuarón this time delivers a detached view into a couple of months of the life of a broken Mexican family, mainly that of their maid, Cleo. The story takes place in a sort of by the way manner, with the camera following relative “non-stories”. But each of those fragments compose a surprisingly rich mosaic of human destinies and by the end the viewer must acknowledge that a lot has actually happened. The similarities with Czech films that in the microcosm of one family tell wider stories with a universal reach are not entirely out of place. Watching it in the cinema is certainly worth it, the camera work and, in particular, the sound are top-notch. One of the films of the year. #svetozorcinema (17/12/2018)