A review of the new Mexican film “Roma”
This is a deeply personal film from Mexican director Alfonso Cuarón whose previous work was the stunning “Gravity”. He has said that 90% of the narrative is autobiographical and accordingly it is set in a very particular place and time.
The place is a district of Mexico City called Colonia Roma – hence the title – which, at the period of the story, was a decadent area of middleclass families down on their luck. The time is a 10-month period from late 1970 to mid 1971 which included an earthquake and a student revolt.
Cuarón tells his personal story in a pronouncely personal style as writer, director and cinematographer, shooting in black and white, largely on location, and often using his signature long shots. The authenticity extends to the dialogue which is in both Spanish and Mixtec – the language of the Oaxaca region from where the domestic staff hail – plus (not subtitled) a bit of indigenous language.
From the opening credits – a lengthy view of a driveway being mopped by soapy water – to the closing shot – a sky traversed by the occasional aircraft – you know that you are in the hands of a true artist.
This understated film begins slowly, painting an intimate portrait of a professional family consisting of parents, a grandparent, four children and two housekeepers. But, as the story unfolds, there are scenes of profound impact which have life-changing import for all the characters.
Most unusually, the point of view is that of one of the servants Cleo who in real life was the Libo to whom the film is dedicated and who is still alive. The Paco boy character is director Cuarón who was 10 at the time of the incidents represented. Amazingly, only the person playing the mother (Marina de Tavira) had previous acting experience and yet the debut performance of Yalita Aparicion as Cleo is simply mesmerising.
“Roma” has rightly received rave reviews and it is Mexico’s entry to the Academy Awards for 2019. You can catch it on Netflix.