Every photographer could watch Alfonso Cuaron´s Roma,

[colker]

Shot by the director himself in beautiful black and white (don´t know if film or video).. it´s a recreation of his childhood in 1970s Mexico city.

The film is carried by Cuaron´s photography and his long takes are unbelievably complex.

 

[aizan]

second the great cinematography. i saw it at the hammer this wednesday, and people everywhere were crying.

 

[colker]

second the great cinematography. i saw it at the hammer this Wednesday, and people everywhere were crying.

It´s a masterpiece. What is it? Film? Digital more likely.

Form opening to end, it´s the photography that is carrying the story in ways i have not seen before.

 

[Marco Milazzo]

One of the few films made for adults these days. I felt the influence of Italian neorealism -- Rossellini, de Sica, early Fellini.

 

[colker]

One of the few films made for adults these days. I felt the influence of Italian neorealism -- Rossellini, de Sica, early Fellini.

Absolutely! It reminds me of Fellini. The martial arts class is pure Fellini.
There is also something from Orson Welles on those impossible mastershots that go from inside to outside scenes.
Cuaron is a monster.

 

[vbsoto]

I just watched it last night. I marveled at how they achieved their lighting across such broadranging scenes, especially on the long runs and interior/exterior runs.

 

[colker]

I just watched it last night. I marveled at how they achieved their lighting across such broadranging scenes, especially on the long runs and interior/exterior runs.

Yeah. It´s jaw dropping technically brilliant. How about those scenes inside the cinema?

 

[colker]

And there is a long master shot where the camera goes w/ Cleo in the waves. It´s freaking beautifull.

I never seen a film where photography is the main narrative tool.

 

[DominikDUK]

It´s a masterpiece. What is it? Film? Digital more likely.

Form opening to end, it´s the photography that is carrying the story in ways i have not seen before.

Large Format Digital, Arri Alexa 65, but the capturing medium shouldn't matter. Though Cuaron said in an interview that he wanted a digital look. It Looks beautiful but it lacks some texture, that was part of the neo verismo movies and was the result of a bit of filmgrain and low budget.
Still beautiful no matter the medium

 

[colker]

Large Format Digital, Arri Alexa 65, but the capturing medium shouldn't matter. Though Cuaron said in an interview that he wanted a digital look. It Looks beautiful but it lacks some texture, that was part of the neo verismo movies and was the result of a bit of filmgrain and low budget.
Still beautiful no matter the medium

I agree; capturing medium should not matter. There are very few close ups ... and then there is a beautifull classic portrait done w/ wide angle of Cleo close to the end.

 

[vbsoto]

Though Cuaron said in an interview that he wanted a digital look.

I think that applies to the deep depth of field, sharpness was deep, near to far, which I appreciated artistically as purposeful. Especially say in the street scenes in front of the house, or interiors with activity happening outside the windows in the scene.

 

[Erik van Straten]

I will look tonight!


Erik.

 

[colker]

I think that applies to the deep depth of field, sharpness was deep, near to far, which I appreciated artistically as purposeful. Especially say in the street scenes in front of the house, or interiors with activity happening outside the windows in the scene.

Orson Welles did it in Citizen Kane... it was shot for maximum depth of field.
The movie hit me as part Fellini, part Welles.

 

[DominikDUK]

I think that applies to the deep depth of field, sharpness was deep, near to far, which I appreciated artistically as purposeful. Especially say in the street scenes in front of the house, or interiors with activity happening outside the windows in the scene.

Here his direct quote and it has nothing to do with deep focus "I didn't want this to a be a vintage black-and-white — a black-and-white that would look like something done in the '60s or the '50s," he says. "I wanted a digital black-and-white that would embrace digital, not try to hide the digital quality of it, with amazing resolution and amazing dynamic range and amazing definition." He certainly achieved that but it did cost him texture which this film is missing imo.

 

[colker]

Here his direct quote and it has nothing to do with deep focus "I didn't want this to a be a vintage black-and-white — a black-and-white that would look like something done in the '60s or the '50s," he says. "I wanted a digital black-and-white that would embrace digital, not try to hide the digital quality of it, with amazing resolution and amazing dynamic range and amazing definition." He certainly achieved that but it did cost him texture which this film is missing imo.

What i find amazing is how photography narrates the story. Even though it is highly emotional the script is thin. Scenes are not based on dialogue or acting but on plasticity and visual elements. We know there is something wrong w/ the Gringos in the ranch because of the embalmed dog heads. Everything else in the movie happens as a photographic image.



It´s the first time i watch such thing happen in movies.

 

[flagellum]

All of Cuaron's work is really incredible as far as cinematography goes. Children of Men, Gravity, and Y Tu Mama Tambien are all masterpieces as far as cinematography goes. He embraces long cuts through and through. Haven't seen Roma yet, but considering that Cuaron makes up a good cunk of my top 10 films of all time list, really looking forward to it.

 

[helen.HH]

And there is a long master shot where the camera goes w/ Cleo in the waves. It´s freaking beautifull.

I never seen a film where photography is the main narrative tool.

Agreed ... Roma is Beautiful

Re: “I never seen a film where photography is the main narrative tool”
Watch films by the cinematographer: Sven Nykvist
His work was transformed while working with Ingmar Bergman. Bergman films were truly special because of Sven’s use of Shadows & Light.

Sven was one of the Greatest Cinematographers.... His range & style working with light/ film is quite Beautiful... Extraordinary

Article / Video about Sven:
https://wolfcrow.com/blog/understanding-cinematography-sven-nykvist/

 

[DominikDUK]

The conformist directed by Bertolucci is another example as is the last emperor also by Bertolucci both film were shot in color but photography (color and light) is the main narrative tool as it is in most visually great movies.
Vargtimmen (the hour of the Wolf) Bergmann's only "Horror" Movie is another great example and was of course shot by Nykvist

 

[colker]

The conformist directed by Bertolucci is another example as is the last emperor also by Bertolucci both film were shot in color but photography (color and light) is the main narrative tool as it is in most visually great movies.
Vargtimmen (the hour of the Wolf) Bergmann's only "Horror" Movie is another great example and was of course shot by Nykvist

Fermin(the martial arts muchacho) seems drawn right out of the Conformist btw. I have seen it long ago and have a fuzzy memory of this movie. I do remember the Last Emperor. Don´t you think Roma carries more weight on visuals as story telling?

 

[colker]

Agreed ... Roma is Beautiful

Re: “I never seen a film where photography is the main narrative tool”
Watch films by the cinematographer: Sven Nykvist
His work was transformed while working with Ingmar Bergman. Bergman films were truly special because of Sven’s use of Shadows & Light.

Sven was one of the Greatest Cinematographers.... His range & style working with light/ film is quite Beautiful... Extraordinary

Article / Video about Sven:
https://wolfcrow.com/blog/understanding-cinematography-sven-nykvist/

Sure... but Bergman writes complex scenes of dialogue and acting. His scriptwritting is dense. Persona is very visual but acting carries the story. Those close on Persona are everything. Roma is about visual memory. No actor has even a close up during the scenes.