All the latest gaming news, game reviews and trailers. Imagine looking at an old album of black and white family photos; each picture provoking memories. We should be thankful there are films like “Roma” keeping that machine humming. Brian Tallerico is the Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. Same problem, though. Cleo is one of two domestic workers who help Antonio and Sofía take care of their four children in 1970s Mexico City. Doesn’t the prospective box office bonanza attendant on its prizewinning success make this economically viable? Yet it also invokes the oceanic feeling of a being at one with the universe that dovetails with a climactic family road trip. It is a slow and deliberate film so patience is required. Cuarón is conversant in Hollywood storytelling but here he also makes expressive use of the kind of tableau staging — arranging people in the frame — that is more familiar from art cinema. Roma has to be seen on the big screen. In a parallel narrative, Cleo becomes pregnant from her painfully naïve relations with Fermin, presented as an embodiment of violence. Awful. Their futures are still-born. Cuaron’s film climaxes in a couple of emotional scenes that will shake to the core those who care about these characters. I don’t often get as personal as some critics do in reviews, but how strongly I feel about this film seems to warrant one more closing thought. Please enter your email address and we will email you a new password. It concerns a middle-class family living in Mexico City during the early 70's. There’s also an earthquake, a shattered window, an unexpected pregnancy, death and betrayal. Roma est un film de Alfonso Cuarón. Between those three and Tavira (who has a long resume of work in Mexican film, TV, and theater), the main Roma cast brings a sense of naturalism to the proceedings that matches comfortably with Cuarón's general storytelling approach and, thusly, allows the drama to work as a thoughtful ode to the lives and sacrifices of the women who raised the filmmaker in real life. Your AMC Ticket Confirmation# can be found in your order confirmation email. “Roma” is dedicated to Liboria Rodríguez (“for Libo”), the woman who raised him in a house like the one in this movie, where every so often you can see a jet passing overhead, a vision that points to a distant, peripatetic future, even as it suggests that Cuarón never left this place, its women and its love. So as they walk towards the furniture shop, they walk in front of riot policemen, but also, a lot of students. Without over-using the trick, which would have resulted in a cluttered film, Cuaron often places Cleo in a tableau that could be called chaotic, whether it’s a market teeming with people behind her or even just the home in which she spends so much of her time, full of noisy children, relatives, and servants. This is a stunning sequence that’s viscerally terrifying and emotionally overwhelming. As stunning as the craftsmanship is, the actors in Roma are (of course) a key part of the film's success too. Well, it’s an old story. The family’s four children — a girl and three boys, one presumably based on the director — tend to blur into a cacophonous, charming little mob and you catch their names only in passing. Their own ability to love, care and tend tossed out alongside, leaving them shriveled, ugly versions of human. Cuarón has a crafted something that is purely, assuredly human. But in my point of view, there is a greater randomness that puts things together or pulls them apart. At the heart of it all is a wonderful performance from Aparicio, who brings to the role something delicate and stoic. And you’ll hear also how they sing the Mexican national anthem. What are you waiting for? Let us know what you thought of the film in the comments section!