More ambitious than most Micheaux features and undercuts his usual problems with exposition and dialogue. The images are more pointed and expressive as well.
Roma has two very diferent impulses: one is trying to make a larger panel of Mexican society at the turn of the 70s with Cleo serving as it center and the other a nostalgic reverie, one that uses its aesthetic tour de force to justify every fetishistic detail it can throw at the audience. Cuaron knows his title will bring to mind Fellini who often also operate into such impulses, but as much as I think Fellini's navel gazing can…
"We're late, darling, we're late
The curtain descends, everything ends too soon, too soon"
One can't stop history. Come for Vertigo by way of Fassbinder, stays to be complete emotional devasted. Literally physical painful to sit through at times. The best thing about Petzold spare staging, the way his images can both feel charged with history and emotionally naked might have never been put to such good use. Also, Nina Hoss is beyond words (Zehrfeld is pretty great in a tricky role as well);
Literally greatest drop the mic ending ever.