What do you do with a film that is in 2 different languages, had no big stars in the cast, was in black and white, had essentially no action sequences, surprisingly little dialogue, and is only available in select theaters?
This year, you take it seriously. Very seriously.
When I heard about ROMA late in 2018 and it’s likely potential to destroy the stereotype of many major filmmaking awards, I was skeptical. My first intel on the film was from The Hollywood Reporter, and while I love that magazine, they can get a little, um, fancy. Often I feel like they live in their West Coast bubble and the gatekeepers of Hollywood have no idea what is happening in the middle of the country.
But I’m so glad that I paid attention.
ROMA is a gorgeous piece of art.
Warning – this will contain spoilers! For our spoiler-free review, please see FictionAddict.com.
Also – I would like to take a moment to say that if you require films to have non-stop
The film begins quietly with a long shot of floor tile being washed with soapy water and a mop, planes being reflected in the water. This truly represents the pace of the film. The opening sequence is long. But it is needed. It’s peaceful. It’s oddly soothing. It’s enough time for the viewer to settle in and take a breath. It’s paced, like rain falling on your roof early in the morning. It feels like a meditation. Giving us permission to close out the noise of our real lives and listen to the life of another.
ROMA follows the life of Cleo, a housekeeper, in Mexico from 1970-1971. Cleo spends her days simply: doing her job, running errands, taking care of a family, handling all of the details of their mid-century home. The days are quiet, with Cleo cleaning and cooking and listening to her small hand-held radio, but when the four children arrive home from school, the house breaks out in joyous chaos.
Cleo discovers that she is pregnant and suddenly faces a massive dilemma. The father has no interest in her or his child, so the family she serves rallies to help her with doctors and step in where needed. But essentially life for Cleo is exactly the same – aside from the child growing in her belly.
Paralleling her story is political unrest outside of the walls of the home and marital unrest inside. The father has left his family for another woman. He lies and tells the children that he is teaching in Canada and doesn’t know when he will be home. The mother is in a panic, considering how she will now raise the children as a single mother. She vents much of her anger symbolically and slowly, continually denting her husband’s excessive car in deliberate ways.
And the newly structured family deals with life and learns to move on.
ROMA triumphs on a multitude of levels –
First, Cleo, portrayed by Yalitza Aparicio, is a silent, steady character. Her performance is magnificent for a first-time actress, as she commanded every scene while essentially saying nothing. She belongs to the home where she works, she belongs to the family.
Second, Alfonso Cuaron is proving once again to be one of the elite filmmakers alive today. This film is a masterclass. The cinematography is breathtaking, the editing flawless, and the screenplay and dialogue make every moment matter. I thought CHILDREN OF MEN and GRAVITY were feats of filmmaking. They pale in comparison to what Cuaron has achieved with ROMA.
The powerful symbolism cannot be overlooked as well. Planes fly overhead in key scenes, showing the possibility of a bigger world. Pointing toward key moments. Water is a central character, the washing of the bricks in the driveway, the washing of laundry, the washing of a baby, and a pivotal end scene where Cleo has to brave her fears for the sake of the children she loves.
I also resonated with the statement from Sra. Sofia to Cleo: “We are alone. No matter what they tell you, we women are always alone.”
The pair have a commitment to support each other, even when the men who made promises and vows suddenly vanish. Women band together throughout the film, strong and steadfast, showing quiet strength. In the ridiculous scene where Fermin is practicing his martial arts, the teacher boasts the ability to do an amazing feat, a mind/body ability only accomplished by those who have spent their life devoted to the martial arts. But this ‘feat’ is a simple yoga tree pose that pregnant Cleo can perform with ease, while the lines of men aspiring to become feared fighters fall due to their lack of balance.
The mutual respect between the women is a challenge – to not judge based on economic levels but to care for, stand up for, and protect each other.
Observing this story, one of the main things that stuck out to me was just how loved Cleo is. The children adore her and the youngest son even chastises her when she speaks her native Mixteco. He can’t understand her words, which is frustrating because he so wants to be involved in her life. When Sra. Sofia (Marina de Tavira) hears of her pregnancy, she immediately takes action and, despite her marriage and finances falling apart, she makes sure Cleo has all the medical care she needs. The family Matriarch, Sra. Teresa (Veronica Garcia), is determined to get the baby a crib at their favorite furniture store, despite the political unrest exploding in the streets.
And the chaos of the scene in the hospital when Cleo has her
baby may be one of the most heart-wrenching pieces of cinema I’ve seen in a
long time.
(According to IMDB, all of the people in that scene were not actors – they were
actual hospital workers, so all of the actions, sounds, and discussions were
very real.)
I could go on and on, but I have to say that ROMA is a film that has stuck with me. It made me want to strengthen my relationships with the women in my life. It made me examine who I need to draw closer into my family.
I have no idea how to end this review, as there is so much more I want to say – but
And now I’m going to go and watch it again.
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