Director: Alfonso Cuaron
By Alex Watson
Heading back to his roots of Mexico City, Alfonso Cuaron's Roma is a much more stripped back effort than his recent big-budget efforts. Sweeping the Golden Lion at Venice, Cuaron shows why he is among movie making's elite. Behind the picture's low key feel is some sheer emotional power. Showing the ordinary going's on of the average family, Cuaron is able to bring some excellent technical mastery and brings a very real feeling to this depiction of the troubles of ordinary people.
In 1970 Mexico, Cleo (Yalitza Aparicio) works as a maid in the home of Doctor Antonio (Fernando Grediaga) and Sofia (Marina de Tavira). Their lives appear to be very routine, but beneath the facade, the parent's marriage is extremely strained. After a few inciting incidents, Cleo finds herself thrust into the role of peacekeeper. However, she has her own troubles to deal with which will culminate in some life-changing moments.
Shot in black and white, Roma is a much more stripped back affair from the very beginning. A very slow burner, Cuaron is keen to bring his audience into the families world. Cleo's work is one of strict upkeep and during the opening titles we see the driveway being slowly cleaned of dog shit. There appears to be an almost loving security within the opening frames as we see her put the children to bed and happily read them stories. Thankfully there is no oversold commentary of the difference between rich and poor, Cleo is recognized as vital to the family. There is a tenderness in one scene as she happily watches television snuggled with the children. At first, this appears to be a typical depiction of an everyday family, but little by little Cuaron dismantles the facade. A very autobiographical film inspired by his own childhood in the Roma neighborhood of Mexico City- Cuaron brings an authenticity which is undeniably compelling.
His stunning use of frames is another factor which makes this one of 2018 strongest efforts. Each frame is sharp and clear and brings us any number of memorable and stunning shots. One scene shows a forest fire on New Year's Eve set against a man singing sorrowly while the flames burn. Cuaron has made great use of tracking shots in the past (his stunning one take shot in Children of Men still stands out). Here he utilizes this to full effect and often we trail the streets of Mexico opposite Cleo. We feel like we are observing a stranger and we cannot take our eyes off the screen. These small touches bring realism to proceedings and as we watch this family unravel it stabs us right to the gut. As Antonio and Sofia show signs of falling apart, Cleo is required to keep the family together which proves an arduous task.
Roma might be a picture about Cuaron's childhood, but the story is focused on Cleo. A young girl still trying to make her way, she is required to be stronger than ever imagined. Throughout she learns life lessons the hard way, such as her doomed romance with martial arts obsessed Fermin (Jorge Antonio Guerrero). She is responsible for some of the pictures most poignant and heartbreaking moments. On first glance, she seems like a shy and retiring flower, but underneath there is a strength and selflessness that makes her thoroughly endearing. While Antonio and Sofia face a bitter struggle, Cleo is one who really anchors the family.
The magic of this moment is mainly down to the stunning central performance of Yalitza Aparicio. The 25-year-old Mexican actress is a revelation onscreen and brings a performance of pure emotional intensity. Cast despite no formal training as an actress, Cuaron has found one of the stars of the future and Aparicio brings a strength and vulnerability that the film desperately needs.
Roma proves how Alfonso Cuaron is a director at the top of his game, Gravity may have won him an Oscar, but this might be a career best so far. Expect this name to appear frequently this awards season.
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