Roma Review: Alfonso Cuarón Masterfully Captures the Memory of Childhood

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Roma Review: Alfonso Cuarón Masterfully Captures the Memory of Childhood

Illustration: Akshita Monga

T

he opening sequence of Alfonso Cuarón’s affecting Roma – Mexico’s Foreign Film submission for the Oscars – is nothing less than a modern-day cinematic marvel.

Shot in black and white and large-format digital, the film opens with a lingering shot of floor tiles on the driveway of a house located in the eponymous district in 1970 Mexico City. The floor is soon flush with soapy water and an airplane is reflected in it: Languid waves twirl around in such choreographed detail as if rehearsing its one last dance before being mopped away.

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