“Roma” is a personal epic film, set in Mexico City in the early Seventies. Alfonso Cuarón describes his Childhood from the point of view of the adults who surrounded him at the time. The staging is overwhelming, the images burn themselves into the viewer’s memory. “Roma” runs from Thursday to the cinema. the By Annett bushel

As a memory of his Childhood? And how this childhood may accept memories in a movie form? The Mexican Director Alfonso Cuarón seeks in his new work the answers to these questions. “Roma” is a very personal, intimate epic film, for the Oscar winners (“Gravity”) for the first Time since his tragi-Comedy “Y Tu Mamá También” (2001), the view back to his home country. “Roma” is filmed in Spanish and with unknown actors. It Cuaróns view is back in the world of his Childhood.

playing in Mexico City in the early Seventies, shown in the quiet Black-and-White images. Colonia Roma, the eponymous neighbourhood in which parents live with their four children. In one of the children’s room of the house, the Poster of the football world Cup 1970 in Mexico still hangs. Outside the maid scrubbing the tiled yard, where the family dog Borras leaves as a Running Gag constantly of his piles. And in the evening, the father returns – a very busy doctor with the Ford Galaxy’s home, the hood is so wide that the arrival is determined by a so fanatical as silly Parking choreography in the driveway. A comfortable, easy-to-chaotic middle-class life, soon needs to keep a couple of internal and external shocks.

Because Alfonso Cuaron belongs to the great author of makers of the cinema – in-a-row with François Truffaut, Federico Fellini, or Ingmar Bergman – are the Connections to the strongly autobiographical films. “Roma” is kissed, in a way, his version of “you and you beat him”, his “Vitelloni” or “Fanny and Alexander”.

Cuacón reports of private and political shocks

But the Film is completely different to the second view. Perhaps this is because, as said Balzac, twice live, the first Time in reality, for the second Time in the memory, and because both must not necessarily be the Same, has decided to Cuaron to make yourself just a minor character. He is not told from his childhood perspective, but from the perspective of the adults who take care of the raging siblings, and incidentally their own problems to care about. The father passed on a business trip and will not return. And as the house girl, Cleo, from their point of view İmajbet the Film is told mainly, is unintentionally pregnant, her boyfriend immediately from the dust.

That on “Rome” even before the cinema start on Thursday, much has been said, is due to the fact that the Streaming service, Netflix, has produced the Film. In Cannes, the company failed, therefore, to the festival regulations and could not show their work there; at the Venice Festival it won the Golden lion. That Netflix has provided for the Film in addition to a few selected cinemas, however, especially for the playout on its digital platform, where it already from the 14. December is to see, was in some cinema operators and film-lovers for anger, would have liked a stronger commitment to the cinema.

silver shines the light on the sheet

What you can understand, because “Roma” is undoubtedly made for the big screen. After a work of art is displayed in beautiful camera shots full panoramic view of the inner and outer dynamics of this Mexican Childhood. Silver shines the light on the white sheets on the roofs of houses. Just like on the soap-and-water-lapped tiles, the Cuaron for his terrific opening scene shows that he is the mirror image of a booming passenger plane like the distant dream of a different life. The staging is so overwhelming that these images burn into the viewers memory as well once the little Alfonso. You can listen to during long forays through the house and the streets, the feeling, the rush of time. This is a quiet, but steadfast progression of life, linking past moments with the following.

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The best thing about Roma is that Alfonso Cuarón, the episodic nature of our memories is faithful, and his Film is less a great act than to situations around has built. The skewed marching band, the marching down the street. The visits to the cinema, where you can see two in the All floating astronauts from John Sturges’ “marooned”. The heavily pregnant Cleo into scary close to the “Corpus of Christ”massacre in 1971, more than a hundred protesting students were killed. Cuarón tells not only of private but also of political upheavals.

the family will be held at this time especially by the lady of the house, Sofia and the indigenous house maid Cleo. Two women, separated by class differences, but in the loving effort to the children, and the stoicism with which you have to go through the day. Yalitza Aparicio plays the maid in her first film role with a touching mixture of inferiority and heat. The camera follows the woman who tirelessly cares about budget, food, Laundry, and shopping, and for the Mixtekin without education, no other place than the staff room is provided.

And so is “Roma” also, and above all Cuaróns Ode to the women, the mother and the maid that shaped his Childhood and his memories shaped. Two strong women, each in their own way lonely and in spite of – or perhaps because of it – together.

Roma, MEX/USA 2018 – Director, writer, camera and editing: Alfonso Cuarón. With: Yalitza Aparicio, Marina de Tavira, Nancy Garcia. Netflix, 135 Minutes.