Roma

Drama | In Spanish with English subtitles | 135 minutes

Info

A riveting account based on writer-director Alfonso Cuarón’s early, middle-class life in Mexico in the early 1970s. The title refers to Colonia Roma, a neighborhood in Mexico City. The film describes the anguished role of Cleo, the household maid, Sofia, the wife, her husband Antonio, and their four young children. It’s a family that’s falling apart. Household events lead to many painful episodes: Antonio decides to go off to another life, Cleo becomes pregnant,  two of the children nearly drown at a beachside resort before being rescued by Cleo. They return to the home to find the bookshelves and bedroom stripped. Sofia and the children now face a hard life while Cleo bravely  carries on. 

Cast
Yalitza Aparicio (Cleo) / Marina de Tavira (Sofia) / Fernando Grediaga (Antonio)
Why Stream This Film?
It’s rare that such a worthy film that was nominated for 10 Oscars is also available for streaming.
  • Rotten Tomatoes Score (Critics Consensus) 96% 96%
  • Metacritic Score 96% 96%
Accolades
  • 75th Venice Film Festival, Winner, Golden Lion
  • Ten Academy Award Nominations. Winner: Best Best Foreign Language Film, Best Director (Alfonso Cuarón), Best Cinematographer (Alfonso Cuarón)
  • Festivals: Venice, Telluride, Toronto, New York
  • Best Film of 2018: Time Magazine and The New York Film Critics Circle

Now streaming on:

There’s no other way to say it: ROMA is one of the best movies I’ve ever seen, and one of the most moving. If Norma Desmond had been able to see it she wouldn’t have worried about the pictures getting small.
Joe Morgenstern

The Wall Street Journal

Few directors tell large-scale stories with as much sensitivity as Cuarón. In ROMA he refined his style of marshaling various narrative strategies, including cinematic spectacle.  He uses both intimacy and monumentality to express the depths of ordinary life.
Manohla Dargis

The New York Times

The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.
Anthony Lane

The New Yorker

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