Posted by Larry Gleeson

Alfonso Cuaron’s latest diatribe of Mexican life, Roma, winner of the 74th Venice International Film Festival’s top prize, the Golden Lion, and favorite of the Chicago Film Critics Association, is on display at a theatre near you. While it is streaming on Netflix, its full flavor is best enjoyed in a theatrical experience where sounds abound, camera movements mesmerize, performances loom large and the mise-en-scene transports. I had the good fortune to view the cinematic treat at the new home of the Santa Barbara International Film Festival (SBIFF), the Riviera Theatre, recently renamed the Lynda and Bruce’s Rivera Theatre in honor of SBIFF philanthropic benefactors, Lynda Weinman and husband, Bruce Heavin.

 

 

 

Set in Mexico City during the politically turbulent time of the 1970’s, Roma follows the life of a young servant, Celo, portrayed by first-time actress, Yalitza Aparicio. In homage to classical Italian Neo-Realism, Cuaron infuses Roma with elemental characteristics of Neo-Realism with his choice of a first-time, non-professional actress, a seemingly realistic setting and exhibits the film in black and white.

 

Yet, Roma, is a highly crafted, highly orchestrated work of art. Cuaron makes every shot count, every moment a well-conceived and executed thought brought to fruition enticing the viewer to suspend disbelief. Cuaron then, and only then, deftly adds a shot to remind the viewer that Roma is a film. That’s how masterful Cuaron has become with his filmmaking craft.

 

 

And, that’s not to take anything away from the film’s narrative. Highly autobiographical, Cuaron draws scenes from his memory and manages to wrap them around his central character, Celo, then slowly allows the layers to melt away leaving the viewer with an exaltation that must be seen and experienced to be believed. Highly recommended on a cinematic screen!

One of the year’s best films….if not the very best.

Until next time, I’ll see you at the movies!