Roma is unique for several reasons. For one, it’s the first film distributed primarily by a streaming service (Netflix) to be nominated for Best Picture (some controversy has been brewing for a while about this fact). Second, it very well might become the first foreign language film to win BP. And third, Alfonso Cuaron could take home a record five Academy Awards in one night for Roma in the Directing, Cinematography, Writing (Original Screenplay), Foreign Language Film, and Best Picture categories.
My own reactions to Roma are mixed. I found the cinematography creative and the acting solid. But not knowing much about the historical setting of the film (Mexico in the early 1970s) kept me from fully grasping its point about ordinary lives playing out in a larger world (this is my fault, though, not the fault of the movie). Plus, as with all foreign language films, it is difficult to completely take in both the action and the dialogue: The viewer often finds him/herself focusing too much on the subtitles and losing out on the visuals or vice versa. It wasn’t until the end of the film that I was affected emotionally by a couple of scenes and some of the characters’ lines, but I still feel I missed something in those more moving sections of the film. Yet, the thought of rewatching Roma to catch what I overlooked the first time isn’t very appealing as the film was difficult to get into and connect with, regardless of subtitles.
Why This Film Might Win BP:
After its success at this past weekend’s BAFTA Awards where it won Best Film, Roma is perhaps the frontrunner for BP. It’s different, its actors give good performances, it has depth, and the cinematography is being raved about. I think the film can be relatable for some people–it definitely tries to tackle social issues such as economic inequality and corrupt government. Moreover, the fact that it owes its origin to Alfonso Cuaron’s own childhood and memories makes the film more endearing than it would be otherwise.
Why This Film Might Not Win BP:
It’s foreign. And that fact alone could be enough to kill its chances of winning BP. I might not be the only one who appreciates Roma‘s cinematography but finds it difficult to connect to the story–whether that is because of cultural differences or simply the fact that I couldn’t decide whether to focus on the words or the visuals. By the time some of the more emotional scenes occur, I had been so lulled into apathy by images of dirty dishes, lights being turned off, and cars squeezing into tiny garages that I found myself too disconnected from the characters to truly empathize with them. That might be a bit heartless-sounding for a film which does have some creativity, emotion, and deeper meaning, but Roma lost me, and it might lose Academy voters as well.