{"id":74524,"date":"2019-02-25T16:33:42","date_gmt":"2019-02-25T16:33:42","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=74524"},"modified":"2019-02-25T18:43:42","modified_gmt":"2019-02-25T18:43:42","slug":"roma-best-picture","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/roma-best-picture\/","title":{"rendered":"Why Roma deserved the Oscar for Best Picture"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":190,"featured_media":74525,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[4568,10172,10897],"tags":[12015,12013,12012,12018,2544,752,1359,10328,12017,12011,12016,12014],"class_list":["post-74524","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-film","category-opinion","tag-alfonso-cuaron","tag-best-foreign-language-film","tag-best-picture","tag-grammy","tag-mexico","tag-mexico-city","tag-oscar","tag-oscars","tag-richard-brody","tag-roma","tag-the-new-yorker","tag-yalitza-aparicio"],"acf":{"main_category":4568,"legacy":false,"exclude_from_ads":[],"hero_title":"","subtitle":"The Netflix-distributed, Mexican film won Best Foreign Language Film, but fell short of Best Picture. 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Aparicio as Cleo, and Marco Graf as Pepe in Roma. Photo by Carlos Somonte"}},{"acf_fc_layout":"text_area","text_area":"

Any film about a poor brown woman made by a rich white boy turned rich white man in Mexico should come under scrutiny. It doesn\u2019t matter that acclaimed director Alfonso Cuar\u00f3n \u2014 whose credits include\u00a0Y Tu Mam\u00e1 Tambi\u00e9n <\/em>and\u00a0Harry Potter and the Prisoner of Azkaban<\/em>\u00a0\u2014 managed to do a meticulously sensitive job navigating those racial and socioeconomic briars. He was always going to \u2014 and did \u2014 receive fire. But the line between productive scrutiny and cheap shots for the sake of performative wokeness can be nauseatingly blurry. Roma<\/em> provoked a tsunami of the latter.<\/p>\n

Almost all of the woke internet\u2019s criticisms of Roma<\/em> appear in film critic, Richard Brody\u2019s takedown, \u201cThere\u2019s a Voice Missing in Alfonso Cuar\u00f3n\u2019s \u201cRoma,\u201d for The New Yorker<\/em><\/a>. The Netflix-distributed film centres on Cleo (Yalitza Aparicio), an indigenous domestic worker looking after a family of four children in Mexico City\u2019s Roma district, in the 1970s (inspired by the director\u2019s own childhood). You guessed it. The voice missing is hers. Brody, coming to Cleo\u2019s rescue, accuses Cuar\u00f3n of reducing her to a trope \u201call too common\u201d in movies by \u201cupper-middle-class and intellectual filmmakers about working people: a strong, silent, long-enduring, and all-tolerating type, deprived of discourse, a silent angel whose inability or unwillingness to express herself is held up as a mark of her stoic virtue.\u201d Brody complains that the protagonist doesn\u2019t appear to have \u201cpolitical sympathies, inclinations, or ideologies.\u201d He refers to her character as \u201cdevoid of any wider consciousness beyond her immediate well-being.\u201d<\/p>\n

Yep. Poor, powerless, marginalised people\u2019s consciousness are often largely dominated by their immediate well-being because they live in survival mode. Cleo\u2019s up first and in bed last, doing manual labour all day, almost every day. Of course she is strong. She is silent, because her job and her survival are on the line. That\u2019s the point and central tragedy of the film: Cleo had no voice. Even the mother of the family (Marina de Tavira), also a victim, has the power of words and narrative. She re-tells her own story. The end of the film is a new beginning for her. Cleo, on the other hand, ends up right back where she started: making a smoothie. In her position, to be long-enduring and all-tolerating may have been her only path to dignity. And even so, she breaks down on-screen multiple times.<\/p>\n"},{"acf_fc_layout":"blockquote","text":"\"That\u2019s the point and central tragedy of the film: Cleo had no voice\".","source":""},{"acf_fc_layout":"images","gallery":[{"ID":74526,"id":74526,"title":"ROMA","filename":"ROMA_06587_010R.jpg","filesize":750459,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/roma-best-picture\/roma-2\/","alt":"","author":"1","description":"","caption":"","name":"roma-2","status":"inherit","uploaded_to":74524,"date":"2019-02-25 12:07:48","modified":"2019-02-25 12:07:48","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1500,"height":1000,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","thumbnail-width":128,"thumbnail-height":85,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","medium-width":1500,"medium-height":1000,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","medium_large-width":1500,"medium_large-height":1000,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","large-width":1500,"large-height":1000,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","1536x1536-width":1500,"1536x1536-height":1000,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","2048x2048-width":1500,"2048x2048-height":1000,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/02\/ROMA_06587_010R.jpg","wpvr_mobile-width":1500,"wpvr_mobile-height":1000}}],"settings":{"fit_width":"6","caption":"Alfonso Cuar\u00f3n and Yalitza Aparicio as Cleo on the set of Roma. Photo by Carlos Somonte"}},{"acf_fc_layout":"text_area","text_area":"

Not that poor, marginalised people don\u2019t ever have broad political consciousness. Of course, they do. But sometimes upper-middle-class and intellectual film critics don\u2019t. The New Yorker<\/em>\u2019s Brody says Cuar\u00f3n \u201cfails to imagine who the character of Cleo is.\u201d But it\u2019s the critic who fails to imagine what Cleo\u2019s life is like, despite that the film portrays it in heartbreaking scene after heartbreaking scene of vivid humiliation.<\/p>\n

Brody also criticises the film for a lack of political depth in general. He says, Roma<\/em> \u201cdoesn\u2019t make clear whether [Mexico] was actually democratic\u201d at the time, despite that white people confiscating indigenous land is a running theme throughout the film and that protestors are massacred. Of that scene, Brody asks \u201cWhat are the students protesting? What are they advocating? Why do they seem to threaten the regime?\u201d Another New Yorker<\/em> critic, Anthony Lane, makes a similar point: \u201cCuar\u00f3n makes no attempt to explain it, and nothing is more telling than the sight of Cleo glassed off from the scenes of revolt, as if they were beyond her comprehension.\u201d<\/p>\n

But the movie is not about the protest, or Mexico\u2019s democracy. It is about Cleo. And, most likely, she did not know what the protests were about or why they threatened the regime. Being indigenous does not mean she had to be political. And anyway, is a drama not allowed to just sprinkle in a little political context? Or better yet, recreate the surreal immediacy of that political context, without invoking a larger discourse? Portraying a limited perspective can become a political argument in itself.<\/p>\n

Besides Brody and Lane, woke critics all over the internet made arbitrary demands on <\/span>Roma<\/span><\/i> and its alleged political aspirations — or lack thereof. But just because Cleo is indigenous does not mean that the film must be about her political struggle. Insisting that it does — and failing to observe the ways in which it already is — amounts to icky, guilt-informed othering. This is not productive scrutiny, but a myopic race to publicly bash something to collect the woke tokens that pop out of it (for storage in one\u2019s own social capital piggy bank). This is why we still have a Grammy category called \u201cWorld Music,\u201d and why a foreign language film has never won Best Picture: precisely because broad political consciousness <\/span>is<\/span><\/i> a privilege — one that the US has yet to earn.<\/span><\/p>\n

But hey, can we blame the critics — or anyone — for wanting to rescue Cleo? No way. Watching <\/span>Roma<\/span><\/i> makes it impossible not to. That\u2019s a testament to the film\u2019s success, not its failure.<\/span><\/p>\n"}]},"yoast_head":"\nWhy Roma deserved the Oscar for Best Picture Why Roma deserved the Oscar for Best Picture<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/roma-best-picture\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why Roma deserved the Oscar for Best Picture Why Roma deserved the Oscar for Best Picture\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/roma-best-picture\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-02-25T16:33:42+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-02-25T18:43:42+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Zoe Mendelson\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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