Roma (2018), dir. Alfonso Cuarón.
Recommended by
Psychotik.
Unfolding as a series of vignettes rather than a traditionally cohesive feature film, Alfonso Cuarón's
Roma is a visually striking and immaculately directed affair that suffers from narrative remoteness. While it's abundantly clear that every scene is staged with an incredible amount of foresight and choreography (Cuarón's trademark orchestrated chaos has never been more apparent), such visual theatrics usually take priority over emotional resonance. While the perambulating structure of the story isn't inherently bothersome, its refusal to get close to its protagonist eventually begins to weigh down the film.
Any wide tracking shot photographed from the side is a microcosm for this reality: Cuarón simultaneously wants to capture his subject and the carefully curated circus unfolding behind her, ultimately sacrificing most intimacy in favor of exhibiting his craft. If I were capable of composing scenes like this, however, I wouldn't choose to be humble about it, either.
Still, there is plenty of poignancy to be mined from this film, and much of it is quite compelling despite Cuarón the screenwriter's myriad attempts to sabotage Cuarón the director. I can't deny that some of it felt Machiavellian, however.
It's probably a hell of a lot better than
Belfast.
7/10 (3.5/5)
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Originally Posted by samurai7694
There's a difference of about 20 minutes between the two, making it nearly 3 hours long. I realized that one of the scenes removed from the theatrical cut makes a later scene moot without the full context. One or two more scenes in the director's cut give more context and depth to Salieri's character and one regarding Mozart giving private lessons. I would personally recommend the director's cut.
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Well, then, I will seek out the director's cut. If it's not sitting on any streaming services or I can't find a torrent, I don't mind just buying a Blu-ray copy. It will likely make a nice addition to my collection!
Quote:
Originally Posted by samurai7694
Well said! I can't get enough of that film, honestly. The choice to do long takes makes sense in the context of the Broadway plot. It is as ambitious as the choice to limit the score of the film to just a drum kit. Self-referential, comedic at times, depressing at other times. I especially love the scene between Riggan and the critic. There's a breathtaking audio transition with the pianist playing at the bar, cut by the close of the door and then hearing the cello with the piano along with the fitting MacBeth quote.
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Yes, the tonal shifts are handled with such aplomb, it's really quite astounding. The fact that Iñárritu was able to pull off such a tricky balancing act while juggling the quasi-long-take structure is really a testament to his skill as a filmmaker. Some could argue the execution is masturbatory (especially when contextualized with my criticisms of
Roma), but when there's a richly textured and affecting story to back up the style, then I'm willing to excuse a little self-indulgence. I'm going to listen for that audio transition next time I watch the film, nice catch!
Quote:
Originally Posted by _DJ Vinyl_
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I actually watched this with my partner two winters ago. I don't remember being particularly moved by it, unfortunately, and I wasn't sure if the film was as clever as it thought it was. Maybe I'll have to revisit it.