Roma is a film that feels stuck between two cinematic works, where its naturalist reflection on the epoch is sometimes at odds with its narrative driven, dramatic string-pulling ode to the director's memory of his past. While this is perhaps a bit of an overstatement, the main protagonist Cleo, feels more like a vessel for reflection of the director's memory than a developed character, something that wouldn't be a problem if the film wasn't driven by these narrative dramatic beats. Cleo is passive but that's not the problem, it's more that she is a reactionary character, having no agency, as the film shows little interest in exploring the contractual relationship, or should I say how the authority principle pertains to her situation. Everything about this character is interior-facing, yet when she does engage or react to the exterior it is a signal that this is an "important" moment, often driving the film forward in a didactic way. With that said, the film is largely convincing in establishing that this relationship between Cleo and the family for whom she works is not one driven by personal interests, with the cultural and personal bond being one that supersedes this master-servant dichotomy. Roma can at times be a surprisingly soulless film but it's aesthetically striking, as Cuaron establishes the epoch of his childhood effectively and without any superfluous exposition. The film has the potential to say so much, yet it opts for the more traditional dramatic chords, unwilling to explore these aforementioned thematic elements, opting perhaps what is a best described as an homage to Italian Neorealism, thought it often lacks the characterization necessary, despite a magnetic performance.
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AuthorLove of all things cinema brought me here. Archives
June 2023
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