Deborah Ross

There’s no place like Roma

Alfonso Cuaron's latest film is semi-autobiographical – and as he wrote it, directed it, edited it and was his own cinematographer, the result feels stunningly authentic

issue 08 December 2018

Roma is the latest film from Alfonso Cuaron (Gravity,Y Tu Mama Tambien, Harry Potter and the Prisoner of Azkaban) and you’ll probably already have heard that it’s wonderful, a masterpiece, magnificent, Oscar-worthy. But as I know you won’t believe it until you hear it from me (sigh, the responsibility is too much sometimes) I can confirm all of the above.

At this point I should note that many cinephiles have complained that it deserves to be seen at the cinema, on a full-sized screen with full-sized sound, but as it’s a Netflix film (sneer, sneer) most won’t be able to watch it this way. I did see it at the cinema, at one of the very limited London showings (£18.50!), and can say that if you wish to recreate the experience at home all you have to do is pay £7 for a glass of wine, have someone eat popcorn in your ear, have someone trample all over you as they push past to get to the toilet and, of course, play 79 hours of trailers to yourself beforehand.

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in