{"id":7325,"date":"2018-12-24T17:09:34","date_gmt":"2018-12-24T17:09:34","guid":{"rendered":"http:\/\/asinovolablog.it\/?p=7325"},"modified":"2018-12-26T13:56:08","modified_gmt":"2018-12-26T13:56:08","slug":"roma-alfonso-cuaron","status":"publish","type":"post","link":"https:\/\/asinovolablog.it\/en\/roma-alfonso-cuaron\/","title":{"rendered":"Roma | The Reviews"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]R<\/span><\/strong>oma, by Alfonso\u00a0Cuar\u00f3n, was much talked about because of many reasobs: it has been distributed by Netflix, it was awarded the Leone D’oro at Venice Film Festival. We will address it for what it is: an attempt to create a totalizing work of art, something “larger than life” that we have been missing for a long time.<\/p>\n

Here are two much inspired reviews by Sofia Brugali and Margherita Fontana.[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”20″ bottom_padding=”20″ overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”7326″ alignment=”center” animation=”Fade In” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”padding-1-percent” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Roma \u2013 as seen by Sofia Brugali<\/em><\/span><\/h5>\n

Rome<\/em>, the winner of the 75th Venice International Film Festival\u2019s Golden Lion, is an ambitious and personal\u00a0project, which the filmmaker carried out during every phase of the creation, from the script to the post-production. This special attention comes from the semi-autobiographical nature of the film itself, which\u00a0tells us about Cuar\u00f3n\u2019s childhood through the memories of the director, but also of his brothers and nanny\u2019s\u00a0recollections. It is a meso-american movie, simular to the Italian production \u201cThe best of youth\u201d, in which\u00a0personal story and history of the world inexorably mix, but remain on two different levels. In the\u00a0foreground we as spectators follow the movement of the cameras and the story of the filmmaker\u2019s family.\u00a0They live in Mexico City\u2019s neighborhood of Colonia Roma together with the mixtec baby-sitter, whereas in\u00a0the background the agitations of Mexico in the Seventies take place. Everyday life is depicted in a very\u00a0realistic and rough way, emphasized by the black and white photography. This is another hint of the\u00a0relocation in the past of the events, which are collected and analyzed by the adult Cuar\u00f3n, who reworks\u00a0them through the digital tool. The themes are various, but what struckes the most is the dignity of the\u00a0protagonist, Cleo. She is restricted by her condition of woman, native and servant, but not diminished in\u00a0her humanity. Cleo is the charachter who kept me glued to the screen and with whom I suffered the most.\u00a0But beside this feeling, the gap between memory and present creates a sense of detachment between the\u00a0depicted events and the spectators.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][vc_column_text]\n

Roma \u2013 as seen by Margherita Fontana<\/em><\/span><\/h5>\n

It takes a certain degree of maturity to talk about one\u2019s childhood: it took twelve years to Alfonso\u00a0Cuar\u00f3n to do Roma, a magnificent work dedicated to his nanny. The story of Cleo is quite common:\u00a0she\u2019s a young pregnant woman left by her boyfriend, who finds solace in the love for her
\n\u201cadoptive\u201d family. The social unrest of workers and students, the moral vacuum of the middle class\u00a0provide a sometime surreal background to a touching tale about the complexity of the women’s condition:\u00a0Cuar\u00f3n asks us to think about what it means to be mothers, sisters, life companions. While\u00a0describing his personal and original world, he provides us a glimpse on the human being universal\u00a0depth, on this mixture of pain and beauty which is our existence. Such an ambitious project could\u00a0not be achieved without instruments worthy of this magniloquence. The film is shot in 65mm, a\u00a0spectacular format, in a \u201ccontemporary\u201d B\/W, to use a phrase by the director. I hate to say it to\u00a0Netflix subscribers who missed it at cinema, but Roma had to be seen on the big screen to explore\u00a0each corner of the tracking shots, to enjoy the scale of the frames, to feel a theatre full of people\u00a0becoming suddenly more than silent, to appreciate the definition of the sound design used by\u00a0Cuar\u00f3n to render the liveliness of his native city. A truly cinematographic experience, which cannot\u00a0leave anyone unmoved.[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid”][vc_column_text]oma, by Alfonso\u00a0Cuar\u00f3n, was much talked about because of many reasobs: it…<\/p>\n","protected":false},"author":2,"featured_media":7329,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[96],"tags":[196],"yoast_head":"\nRoma| Alfonso Cuar\u00f3n | The reviews by Concorto Film Festival<\/title>\n<meta name=\"description\" content=\"Roma, Alfonso Cuar\u00f3n's latest movie, as reviewed by Sofia 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