Andrew Saladino’s review published on Letterboxd:
New thematic territory for Cuaron, but a natural extension from his earlier work in regards to his overall form and style. His name has practically become synonymous with one-shot sequences, but where CHILDREN OF MEN employed them for handheld wartime grit and grim, and GRAVITY for a host of bombastic roller-coaster shots that swooped this way and that, ROMA expertly plays with the deep depths of the frame.
Dozens of shots here remain locked down but arc back and forth in 90, 180, and occasionally 360 degree angles -- the actors, the action, and in what's possibly the film's most jaw-dropping moment, a crowd of hundreds of rioters, roaming all throughout every part of the frame. It's a glorious combination of staging, acting, and camerawork that reminded me, as odd as the comparison may sound, of Jacques Tati's work, particularly in PLAYTIME. If only Tati could've seen what Cuaron was able to accomplish here.