Synopsis
In 1970s Mexico City, two domestic workers help a mother of four while her husband is away for an extended period of time.
Roma
2018 Directed by Alfonso Cuarón
Cast
Yalitza Aparicio Marina de Tavira Diego Cortina Autrey Carlos Peralta Marco Graf Daniela Demesa Nancy García García Verónica García Fernando Grediaga Jorge Antonio Guerrero José Manuel Guerrero Mendoza Andy Cortés Victor Manuel Resendiz Ruiz Zarela Lizbeth Chinolla Arellano José Luis López Gómez Edwin Mendoza Ramírez Clementina Guadarrama Enoc Leaño Nicolás Peréz Taylor Félix Kjartan Halvorsen
Director
Producers
Executive Producers
Writer
Editors
Cinematography
Additional Photography
Production Design
Art Direction
Set Decoration
Special Effects
Visual Effects
Composer
Sound
Skip Lievsay Craig Berkey José Antonio García Andrew Caller Ruy García Craig Henighan Steve Browell Enrique Greiner Eric Dounce Liliana Villaseñor Luis Huesca Sergio Díaz
Costume Design
Makeup
Hairstyling
Studios
Countries
Original Language
Spoken Languages
Alternative Titles
Рома, Рим, Ρόμα, רומא, ROMA, ROMA/ローマ, რომა, 로마, โรม่า, 罗马, 羅馬
Genre
Themes
Moving relationship stories Politics and human rights Epic history and literature emotional, emotion, family, moving or feelings family, emotional, emotion, touching or kids emotion, emotional, moving, sadness or feelings artists, biography, musician, songs or emotional surfing, teenager, friendship, adolescents or kids Show All…
Popular reviews
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It’s been awhile since a film has left me completely speechless. Like, the kind of speechless where I was so overwhelmed that it wasn’t until my walk home that I started breaking down. It’s been awhile since I got lost in a film completely and forgot about literally everything in the most beautiful way possible. It’s been awhile since I watched something special and one of a kind, something that makes me depressed to think I’ll never see it for the first time again. I’m gonna be talking about this film for awhile. I can’t even begin to scratch the surface of how much I loved it.
Believe the hype. It’s a fucking masterpiece.
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alfonso cuaron before writing roma: i guess i support mens rights
alfonso cuaron 2 pages into writing: mens rights to shut the fuck up!
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As I wrote on twitter: The precision in Cuarón’s craft is quite honestly overwhelming. I think I had a minor anxiety attack while watching it. And seeing the movie theater shot in a movie theater was otherworldly.
One of my faves of the year. I'll be seeing again on the big screen in Van City.
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TIRED: cutting together the leftover scraps of Orson Welles’ unfinished final film.
WIRED: bringing Federico Fellini back from the dead.
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Alfonso Cuarón didn't release this beautiful film in in theaters just so Bohemian Rhapsody could be played in the theater next to it and rudely play Queen over EVERY EMOTIONAL SCENE
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33
So many choices are the wrong choices in Roma:
If this is about Cleo, why is the spectator almost entirely left in the dark as to her existence beyond the physical? There is no emphasis of her connection to the family except in her own internal turmoil and misery and how the family exists without her, which Alfonso Cuarón blankets in the status of the higher class and their eventual generosity. Yuck.
If this is to be a film regarding memory, and the visceral presence of memories, why is Cuarón so adamant about not applying a specificity to the images, and letting it all play out without ownership? At so many moments, Roma is entirely aimless, with little to…
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I WAS NOT EMOTIONALLY PREPARED FOR THIS MOVIEEEEEEEE
(Also, Everyone telling you this needs to be seen in a theater is leaving out the fact that if you see it at home then you don’t have to deal with strangers watching you sob uncontrollably.)
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CIFF 2018: film #3
“it sounds like this. and smells the same”
completely breathtaking from the first frame to the last. the little in between moments of every day life make this what it is. a film almost full of those moments, and i could watch hours more of them. rain as seen through a window, water dripping into the kitchen sink, and waves thunderously crashing on the beach. a whole film drenched in perpetual wonder, even in it’s darkest moments
and this clearly goes without saying, but the photography in this is absolutely gorgeous. so often i found myself wishing i had an extra set of eyes to catch everything that was happening on screen at once. the black…
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AFI 2018: film #7 (first seen at CIFF)
“we are alone. no matter what they tell you, women, we always are alone”
a once in a lifetime kind of experience. and the best film of the year? very likely so
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avoided this one for as long as i could because i saw The Discourse very early on and didn't feel much like jumping into those waters. anyway, as i predicted, i ended up somewhere in the middle on this. i think a lot of outright hatred is pretty ungenerous and the glowing praise strangely uncritical. i do have to agree that there's something extremely icky about how cuarón chooses to depict this story as One Perfect Shot roller coaster cinema, a fetishistic nostalgia simulation that invites you to "ooh" and "awe" his craft even while he cynically shows you the most intimate pain of a real person he can't help but keep at a distance, more concerned about photographic detail…
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