Roma – first look review | Little White Lies

Festivals

Roma – first look review

30 Aug 2018

Words by David Jenkins

A woman with long, dark hair looking thoughtfully out of a car window.
A woman with long, dark hair looking thoughtfully out of a car window.
Alfon­so Cuarón deliv­ers his mas­ter­piece with this stun­ning social fres­co cen­tred on a house maid in 1970s Mex­i­co City.

It’s rare that you watch a film by a name direc­tor and feel con­vinced that every­thing they’ve made pri­or to this moment has just been a doo­dle, a tri­al run or maybe a giant paving slab on the path­way to some per­son­al Shangri-la. With work like Grav­i­ty, Chil­dren of Men and Har­ry Pot­ter 3 (the best one, don’t @ me), Mex­i­can direc­tor and occa­sion­al Hol­ly­wood trans­plant Alfon­so Cuarón has always upped the ante when it comes to screen sto­ry­telling, tech­ni­cal wiz­ardry and emo­tion­al opu­lence. And as amaz­ing as those movies are, he has always kept one eye on the high­er pow­ers of convention.

His extra­or­di­nary and expan­sive new film, Roma, is on an alto­geth­er high­er plateau – a tran­scen­dent pic­ture album of snatched (albeit haunt­ing­ly vivid) mem­o­ries which dances to its own, off-kil­ter tune. Even though it is filmed in gor­geous, low con­trast black-and-white through large scale 65mm dig­i­tal lens­es, its evo­ca­tion of a rel­a­tive­ly recent past is ren­dered with such del­i­cate pre­ci­sion, and with such pal­pa­ble empa­thy, that it’s hard not to see these images in full, florid colour. There is a sequence in which some near­by trees catch fire, and the flames are a rich orange even though they are lit­er­al­ly white.

It is, to quote its log­line, a year-in-the-life of a young, loy­al, chron­i­cal­ly timid house­maid named Cleo (Yal­itza Apari­cio), and it takes place in 1970s Mex­i­co City in and around the epony­mous dis­trict. It is about fam­i­ly con­nec­tions, com­mu­ni­ca­tion, class anx­i­ety, chil­dren, ani­mals, birth, death, men, women, pol­i­tics, the ele­ments, the land­scape, the city, the coun­try, dreams, cin­e­ma, art, lit­er­a­ture, music, tech­nol­o­gy and every­thing else in between. It would per­haps belit­tle this work to resort to the cliché that all life is here”, but, well, it real­ly is.

There is a soap opera ele­ment to its sub­tle nar­ra­tive, par­tic­u­lar­ly as we are quick­ly immersed in the lives of Cleo’s afflu­ent employ­ers and their four live­ly chil­dren. Yet there is lit­tle obvi­ous cause and effect from scene to scene. Well, there is, but nev­er in a way that feels con­trived. Scenes are often filmed in slow, arch­ing pans, as if a probe as been trans­port­ed back from the past to cre­ate a pho­to­graph­ic record of life in all its messy authen­tic­i­ty. Its nar­ra­tive flow feels entire­ly organ­ic. But that descrip­tion only scratch­es the sur­face. The film is an act of remem­brance, a shrine to loved ones and an ultra-sen­su­al form of auto­bi­og­ra­phy – I don’t know if it was just me, but I could absolute­ly smell this film while watch­ing it.

As with the great British direc­tor Ter­ence Davies, Cuarón shifts away from rigid arcs and rou­tine for­mal struc­tures, instead rely­ing on atmos­phere, detail and tex­ture to deliv­er a mov­ing­ly con­vinc­ing depic­tion of a spe­cif­ic time and a spe­cif­ic place. And like Davies, he also man­ages to per­suade that these high­ly sub­jec­tive and, from cer­tain angles, hum­drum tableaux which have ripped direct­ly from the mem­o­ry banks are, in fact, deeply pro­found, uni­ver­sal and utter­ly magical.

It’s a film which doesn’t push for big emo­tions, but it absolute­ly does yield them through its sim­ple fideli­ty to the idea that tap­ping your own mem­o­ry is, in and of itself, an emo­tion­al act. We won’t say much more at this point beyond urg­ing you to see this mirac­u­lous film as soon as you can, and when you do, pack some­thing to stem the inevitable tide of tears.

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