Cuaron is something of a perfectionist, taking careful time to iron out his projects before releasing them (like the 7 years after Children of Men it took to see Gravity), and with each of his films showing incredible technical sharpness as a result. These projects come to feel very personal for Cuaron, and nowhere is that personal touch more keenly felt than his latest film, the Netflix released Roma, set within the titular neighborhood in Mexico City, as it follows the experiences of a family over the course of a year, that sees Cuaron at his most stripped down, and emotionally powerful result yet.
And that's a significant chunk of the movie, really. What we largely experience is how the family operates in their mundane day-to-day operations, following them as they take in chunks of much bigger events around them, and holding their family life together. Because despite the family's seemingly tightly-knit nature, things are much more complicated. Sofia goes through a crisis as her marriage hits significant bumps due to Antonio's long absences, while a momentary fling with a young man results in Cleo becoming pregnant, and anticipating the birth of her child. Seemingly unexciting territory, but everything lies in Cuaron's execution, as he crafts a minimalist, but deeply enriching family drama.
The most intriguing thing about Roma is just how much it chooses to scale itself back, steering away from overt politics driving its narrative - not easy given its early 70's setting amidst the Alvarez reform, in favor of a much more intimate story. Despite the clear class divide between Cleo and the family, she's managed to integrate naturally with them all, becoming something of a bigger sister to all the children, and almost acting as the glue keeping things together, as she caters to their needs through the insignificant tasks surrounding the home. There's an odd comfort and contentness in watching her circle the lower rooms of the house, switching off the lamps and overhead lights, moving from room to room in a beautifully choreographed tracking shot.
Because Roma takes great solace in and places great value in that silence and subtlety, the intimate moments of home life, that despite their minuscule nature, tend to be some of the most fond memories we can connect to. But it's also experiences we have to learn from. Despite her comfortable nature, Cleo is still a naive girl in a bigger, not always forgiving world. As a result of the bitterness Mrs. Sofia experiences over the distance from her husband, Cleo occasionally becomes the unfortunate punching bag due to her lower status as a meager cleaning lady. Not only that, but about to become a mother herself, she grapples with her own issues over her baby's father, him being a martial arts obsessed deadbeat possibly yielding much more negative and destructive habits, that perhaps is better off staying as far away as possible.
The intention is clear, to highlight the fact that in the grand scheme of things, these people are very small players in a much bigger story. And we see that with how the family reacts to the larger-than-life experiences they find themselves caught in, as they attempt to put out a fire close to their vacation home on New Year's Eve, or even one harrowing sequence in which they're caught in the middle of the 1971 Corpus Christi Massacre. There's greater suffering and tragedy surrounding them, perhaps making their heartbreak and personal family issues feel minor when stacked up, even if no less heartbreaking to witness, and that's certainly exemplified well by the minimalist, but soulful central performance of Aparicio, calmly carrying herself with a meek poise. Also owed due credit is De Tavira, getting appropriately flashier material as a woman scorned and driven bitter as a result, holding to the belief of women being truly alone in this world, given the weakness of the men at their side.
But while seemingly insignificant, it's still powerful to watch the film take shape, and Cuaron lay the family drama out. They may be minor pieces in an ultimately much grander scope, but they're no less vital players within it. In the vast excess and overwhelming craziness of the world, there's an incredible comfort to be taken with the bond between family and family members, with the small but powerful cast making the most of their individual time, and crafting an intimate but easily empathetic portrait of compassion, understanding, and unconditional love within that circle. It isn't showy in any way, but still feels grand in its presentation, with some of Cuaron's best and most confident direction to date, even down to something as meticulous as his usual brand of extended take photograophy (provided by himself rather than Chivo this time).
Roma is imperfect, and a very long sit at 135 minutes, but my patience not only was easy to give, but very rewarding as a result. Despite its limited aesthetic, it's an absolutely beautiful film, crafted to perfection by an artist drawing sweetly from his nostalgia, and working at the peak of his powers. Just don't take too long until the next one, Alfonso.
****1/2 / *****
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