Roma

Una película fuertemente de autor, que cuenta las cosas frágiles de la vida más a través de la imaginería artística que de los rostros de los personajes y sus diálogos. También funciona con los diálogos y las expresiones faciales (y Yalitza Aparicio está genial), pero no es un discurso universalmente atractivo y tradicionalmente emotivo para el público (la película ni siquiera tiene una música original que «manipule al espectador»). Cuarón, después de capitalizar su excepcional talento cinematográfico en la muy comercial Gravity, quiso lanzarse al puro placer cinematográfico, sin compromiso de inversión de los estudios. Roma es cine brillante, admiré cada fotograma (tres o cuatro escenas eran bastante perturbadoras) y sentí y reconocí todas sus referencias sociales (la sociedad de clases, la extraordinaria fuerza de una mujer con un destino difícil), pero emocionalmente no me acercó a Gravity o Hijos de los hombres. (07.02.2019)

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. (31.12.2018)

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. (15.12.2018)

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 (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)