Cuarón is so self-assured behind the camera that this masterful effort of cinematography and editing feels as though it were easy for him. He’s happy to move at a slower pace and draw you in. Yalitza Aparicio is incredible and deserves every bit of praise she’s getting. 

At one point during the film, I was thinking about Harmony Korine’s quote:

After 100 years, films should be getting really complicated. The novel has been reborn about 400 times, but it’s like cinema is stuck in the birth canal.”
I wonder if Cuarón agrees. As much as Roma looks back — the film is in black and white, for crying out loud — it looks forward. There are sequences here that play like dreams, where the camera is characterized in ways that no novel could mimic. It’s inspired by artists like Fellini — there’s one sequence that echoes the opening to 8 12 — but it somehow feels so modern in Alfonso’s hands. It’s a black and white film that has so much texture and, yes, so much colour. 

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