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16-12-2018, 08:50   #16
Sad Professor
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This is on Netflix now in case anyone isn’t following the other thread.

The film’s official website also posted a pretty decent guide to how to set up your tv:
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18-12-2018, 00:14   #17
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This didn't do it for me I must say. Children of Men is one of my favourite films, and I've liked everything else I've seen of Cuaron's but I thought this was just dull. Cinematography was lovely but I can't help feeling if this were in colour and in English there wouldn't be half the acclaim. Not a bad film by any means, but certainly not the masterpiece it's being hailed as.
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19-12-2018, 20:50   #18
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A lot of people are harping on about how beautiful and aesthetically pleasing on the eye it is, but not once did it feel like we were watching scenes from the 70s. Everything was far too clean and far too polished, and ultimately a distraction. Interesting to note that this is Cuarón's first film where he's taken on the DoP role.

And I love the Filmspotting guys but hearing them fawn over him when talking about that opening shot was a little bit cringe. Anyway, no desire to watch this again to be proven "wrong".
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21-12-2018, 10:30   #19
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I thought it was fantastic and was glad to see it in the cinema.
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14-01-2019, 21:14   #20
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I was deeply moved by this. I was a bit cool on it at first, annoyed by the constant dolly shots, but there's something very poetic about them once you get into the film. There's been a lot of comparisons to Fellini etc, and aesthetically i can see it, but with its humanism and stealthy melodrama it made me think more of Ozu. I found great strength in the main character's stoicism especially as she seems to be constantly in danger of being swallowed by her environment, whether it's the domestic duties of the house or the wide open spaces beyond. There can't be more than a handful of close-ups in the film.


I was just reading this LA Review of Books review that trashes the film for not being woke enough! The writer argues the film dismisses Cleo's agency as an indigenous woman and is more interested in depicting wealth porn, accusing Cuaron of making white saviour films.

I'm perplexed by this on so many levels but in particular his suggestion that the film is a defence of economic injustice which seems to be based on a total misreading of several scenes. If anything the film is about Cuaron working out his class guilt while paying tribute to his childhood caretaker. So what if he depicts her as a silent angel. Maybe that's how she was or maybe it suited the style of film Cuaron wanted to make. It doesn't preclude him from trying to realistically depict the gap that separates her from the family.
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23-01-2019, 01:32   #21
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I finally got round to this, and even though I lowered my expectations considerably after reading many “normal” reviews which found it disappointing, I still felt underwhelmed.

I guess due to the day that’s in it and the Oscar hype, but it did very little for me.

Sure it’s beautifully made, and clearly a passion project for the director. It does a good job of immersing you in that snapshot of Mexico 1970/71. I felt the black and white choice may have been a cheap trick to help emphasize that though.

Beyond that, it bored me silly at times. I’d imagine a good 45 minutes or even an hour could have been chopped quite easily, but even then I’d struggle to relate to it or be moved by it. Sure there are a couple of scenes that would move anyone, but those would be equally as moving if told or shot by an episode of Fair City.

Honestly haven’t a notion how this is so critically lauded. Is it some sort of anti Trump thing I’m missing? Bizarre.
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31-01-2019, 00:06   #22
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I watched it yesterday.
A really good film, almost felt like I was witnessing somebody's real life, rather than watching a film.

A very special film.
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31-01-2019, 11:59   #23
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Went to see this in lighthouse before Christmas.

Thought it was magnificent. Well worth seeing it in the cinema vs tv given the scale of many scenes and set pieces.

I found it emotionally involving and technically fascinating.

Should win best picture and director.
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08-02-2019, 00:27   #24
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I didn't see the big deal to be honest.

Also, I'm annoyed that it probably prevented Birds of Passage from getting a best foreign language picture nomination.
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10-02-2019, 16:44   #25
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I heard some great news about this movie from Cuarón.

A recent post from suggests that this movie will eventually get a physical home video release on UHD Blu-ray/Blu-ray soon as in later this year. The three contenders for this home video release would either be Criterion, Warner Brothers or Sony. Cuarón said from a recent Q&A session with a select audience of film fans that he loves releasing his films on every & any physical media format imaginable. When he said this to the audience; it was said there was huge applause all around when he mentioned the intention of a physical release for the fans.

This type of news is hugely important for Netflix's pov as this would be their first ever original movie to be released on physical media.

Last edited by dublinman1990; 10-02-2019 at 16:47.
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10-02-2019, 22:36   #26
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It must be a good shot for the Oscars, big winner at BAFTAs
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10-02-2019, 22:45   #27
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Cleaning up at the BAFTA's it must be somewhat decent.
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11-02-2019, 11:33   #28
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I loved it, spent the first 40 mins a bit 'meh, yeah it's grand but not that good' but when it kicked in it really kicked in.

It lays the ground work in the first half and earns the events that happen later in the film.
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18-02-2019, 19:13   #29
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It's looking likely that Criterion will the distributor for the Blu-ray release.

Criterion recently announced the release of Blue Velvet for Blu-ray not too long ago.
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17-11-2019, 19:11   #30
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Criterion will release Roma in the U.S. on the 11th of February 2020.

Synopsis: With his eighth and most personal film, Alfonso Cuarón recreated the early-1970s Mexico City of his childhood, narrating a tumultuous period in the life of a middle-class family through the experiences of Cleo (Yalitza Aparicio, in a revelatory screen debut), the indigenous domestic worker who keeps the household running. Charged with the care of four small children abandoned by their father, Cleo tends to the family even as her own life is shaken by personal and political upheavals. Written, directed, shot, and coedited by Cuarón, Roma is a labor of love with few parallels in the history of cinema, deploying monumental black-and-white cinematography, an immersive soundtrack, and a mixture of professional and nonprofessional performances to shape its author's memories into a world of enveloping texture, and to pay tribute to the woman who nurtured him.

Special Features and Technical Specs:
4K DIGITAL MASTER, supervised by director Alfonso Cuarón, with Dolby Atmos soundtrack on the Blu-ray
Road to "Roma," a new documentary about the making of the film, featuring behind-the-scenes footage and an interview with Cuarón
Snapshots from the Set, a new documentary featuring actors Yalitza Aparicio and Marina de Tavira, producers Gabriela Rodríguez and Nicolás Celis, production designer Eugenio Caballero, casting director Luis Rosales, executive producer David Linde, and others
New documentaries about the film's sound and postproduction processes, featuring Cuarón; Sergio Diaz, Skip Lievsay, and Craig Henighan from the postproduction sound team; editor Adam Gough; postproduction supervisor Carlos Morales; and finishing artist Steven J. Scott
New documentary about the film's ambitious theatrical campaign and social impact in Mexico, featuring Celis and Rodríguez
Nothing at Stake, a new video essay by filmmaker :: kogonada
Alternate French subtitles and Spanish SDH for the film
PLUS: Essays by novelist Valeria Luiselli and historian Enrique Krauze, along with (Blu-ray only) writing by author Aurelio Asiain and production-design images with notes by Caballero
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