Review of Roma

Roma (2018)
6/10
subtle, visceral, beautiful
10 February 2019
I have so far seen four of this year's Best Picture nominees, and there is no doubt that 'Roma' is the very best of the bunch. It is the only of the four nominees I have seen that is able to reach true greatness, and it is able to do so through subtlety and atmosphere. I'll admit that I am a fan of melodramatic films when they are done well, but there is really something special about a film like 'Roma' that is able to incorporate some scenes of such emotional intensity and impact in what often boils down to a slice of life look at the setting of director Cuarón's childhood. Every scene has a quiet nature to it, making the few sequences that depart from ordinary life and instead burst with action all the more impactful while still remaining tonally consistent with the rest of the film. Add on to this a clear central arc and you have yourself what, in many ways, borders on being a masterpiece. Not to mention, the cinematography is some of the most gorgeous I have ever seen. In stunning black and white, most of the film consists of extremely wide shots, the mis en scene often filled with characters and props, making even the most mundane of things take on greater power, greater beauty. The sound design immerses the viewer even further into this nostalgic and cinematic world, often bursting with the surprisingly meaningful sounds of daily life. On a technical level, the film looks, sounds, and feels like an epic on a grand scale, but, at its core, it is an extremely intimate and slow moving drama. Even when historical events interfere with the central storyline, they serve as something of a backdrop helping further express the main character's internal conflicts. It does not seek to make some grand statement about the historical or political, and it does not need to. Sometimes, merely observing the lives of seemingly ordinary, "unimportant" people is more than enough, and the way 'Roma' contrasts with many of this year's award-winning films proves this.
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