Use two words to describe the feeling of watching the movie that "Roma" brought me, wonderful, a wonderful touch. It's not just what it tells, but how it tells. As mentioned in the background information, the film is a re-enactment of the director's memories, a re-look back to the past. Therefore, those moving shots, long shots, and shots that appear before the characters in the scene, in such an omniscient and other-named way of presentation, give the film a documentary-like authenticity and alienation, but it is also this kind of reality that makes me feel A sense of identification with the heroine Cleo, followed by concern, sympathy, and finally touching. This is also a record of the national culture of Mexico in the 1970s. The camera moves with Cleo's footsteps, sweeping the streets, villages, bustling, and dilapidated cities one by one. The cross-section is presented through the intersection of characters and scenes, so this unfamiliar country suddenly becomes three-dimensional and vivid.
The peculiarity of this kind of somatosensory is that the presentation method and the story itself are so calm, yet they bring an irresistible fascination. The second half of the film is full of climaxes, but the anti-climax uses long shots, without fast cuts and close-ups, and there is a gripping tension from the scheduling inside the shots. Whether it's Cleo giving birth in the hospital or trying to save people in the sea, the camera is like the narrator's vision, lingering on Cleo with nostalgia, making the audience feel anxious and painful. It's a physical urgency that's different from the usual Hollywood-style quick cuts, and it's a refreshing look and feel.
This peculiar movie viewing experience is also caused by the gap in the psychological expectations of movie viewing. The previous anticipation of an Italian-style Roman biography was declared bankrupt at the very beginning of the film. Although bankrupt, the beginning is interesting enough. The picture is solidified in the mosaic tiles, as if the storyteller is sleeping, waiting for an opportunity to be awakened. In this minute-long empty mirror, the voices from outside the soundtrack made people make 10,000 kinds of unfounded guesses, and then the flowing water clearly contrasted the background, which was a stroke of genius. So the audience's waiting is even more anxious, waiting for the moment when the narrator wakes up, what will he see at that moment? Urgency and curiosity were generated and accumulated in the director's seemingly intentional wrestling with the audience, but then Cleo's day-to-day record of urgency vanished. The director is slow and slow, like all literary masters, he wrote it from thousands of miles away, presented it slowly, and strolled in the courtyard. Therefore, in the process of watching movies, psychological expectations will go through the process of repeated accumulation, release and adjustment. The protagonist Cleo rarely occupies the camera's subjective perspective. Even in the stage of extreme intimacy with the scumbag, she still uses a three-person lens to reflect her inferior position in society and in the relationship between men and women. And sometimes the camera shift that almost throws Cleo out of the picture seems to be the director himself crossing into the memory, looking at the past through the eyes of the camera. The use of long shots with fixed camera positions is almost to the point of "flying flowers and picking leaves can hurt people". The scene scheduling in the shots is extremely complicated. All the places where the line of sight can reach in all the pictures, every open picture, each means The extended pictures are self-contained, as if they are self-presented rather than deliberately arranged. Such a narrative method has created a movie that looks natural but is full of ingenuity. The so-called nude makeup is the highest level of makeup, and it has the same meaning in the movie.
The film examines society and family from the perspective of women and children, and successfully touches the emotional G-spot between people. It can be said to be feminist. It uses women's softness and tenacity to resist the chaos and chaos of Mexican society at that time. Turbulent, using the unique maternal characteristics of women to contain and neutralize the ugliness and viciousness of the society at that time. However, the other side of the coin is that the director's description of Cleo's selfless devotion, suffering and forbearance as a Virgin is based on the traditional patriarchal society's assumption of the "motherhood myth" of women and mothers, which may also trigger the sensitive and vulnerable feminists. nerves, but the nerves of minority rights defenders are always sensitive and fragile.
The commercial unfriendly presentation techniques of films such as black and white, Mexico, 1971, long takes, etc., are full of scenes and things with structural symbols, such as singing in the fire, airplanes in the sky, and specific historical and cultural backgrounds. Context, etc., etc., the difficult and boring elements are enough to be daunting. But if you are not frightened by all of this, you will be invited by the director to enter his memory world like a guest, share with him, listen to him, and then experience the ultimate experience of a big voice and an invisible elephant. .
Although until the end I still didn't find roma in the movie.
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