Σε μια σειρά από tweets ο Γκιγιέρμο ντελ Τόρο αναλύει την ματιά του Αλφόνσο Κουαρόν στο σινεμά και στη ζωή ξεκινώντας από την πρώτη σκηνή της ταινίας και φτάνοντας ως το τέλος της κι ακόμη πιο πίσω στο τέλος του «Gravity» και σε μια θεώρηση του σινεμά που κάνει ο συμπατριώτης και φίλος του.
Κι αν το twitter δεν είναι ένα μέσο στο οποίο φαντάζεται κανείς ότι θα ανακαλύψει μια βαθυστόχαστη ανάλυση ενός έργου τέχνης, τα tweets του ντελ Τόρο που μπορείτε να διαβάσετε πιο κάτω, συνοψίζουν λακωνικά αλλά με καθαρότητα την ουσία της ταινίας και του κινηματογραφικού κατορθώματος του Κουαρόν.
Δείτε ακόμη: To ωραιότερο εξώφυλλο της χρονιάς είναι αυτό της Γιαλίτζα Απαρίθιο στη μεξικάνικη Vogue
Απολαύστε:
10 personal musings about ROMA.
— Guillermo del Toro (@RealGDT) January 14, 2019
1) The opening shot suggests that earth (the shit-infested ground) and heaven (the plane) are irreconcilably far even if they are joined -momentarily- and revealed, by water (the reflection). All truths in ROMA are revealed by water.
2) These planes of existence, like the separation within classes in the household cannot be broached. The moments the family comes "closer" are fleeting... "She saved our lives" is promptly followed by "Can you make me a banana shake?"
— Guillermo del Toro (@RealGDT) January 14, 2019
3) In my view, Cleo's "silence" is used as a tool for her dramatic arch- that leads to her most intimate pain being revealed, by water - again- after the Ocean rescue: "I didn't want her to be born" Cleo surpasses and holds her emotions in silence until they finally pour out
— Guillermo del Toro (@RealGDT) January 14, 2019
4) One key moment, precisely crafted is Cuaron's choice to have Cleo's water break just as the violence explodes and her boyfriend breaks into the store holding both a gun and a "Love Is..." T shirt. The baby will be stillborn.
— Guillermo del Toro (@RealGDT) January 14, 2019
5) In every sense, ROMA is a Fresco, a Mural, not a portrait. Not only the way it is lensed but the way it "scrolls" with long lateral dollies. The audio visual information (context, social unrest, factions & politics / morals of the time) exists within the frame to be read.
— Guillermo del Toro (@RealGDT) January 14, 2019
6) It seems to me that the fact that Cuaron and Eugenio Caballero BUILT several blocks (!) of Mexico City in a giant backlot (sidewalk, lampposts, stores, asphalted streets, etc) is not well-known. This is a titanic achievement.
— Guillermo del Toro (@RealGDT) January 14, 2019
7) The Class stratas are represented in the film not only in the family but within the family and the land-owning relatives and even between Fermin and Cleo- when he insults her in the practice field.
— Guillermo del Toro (@RealGDT) January 14, 2019
8) ROMA cyphers much of its filmic storytelling through image and sound. When viewed in a theatre, it has one of the most dynamic surround mixes. Subtle but precise.
— Guillermo del Toro (@RealGDT) January 14, 2019
9) Everything is cyclical. That's why Pepe remembers past lives in which he has belonged to different classes, different professions. Things come and go- life, solidarity, love. In our loneliness we can only embrace oh, so briefly by the sea.
— Guillermo del Toro (@RealGDT) January 14, 2019
10) The final image rhymes perfectly with the opening. Once again, earth and heaven. Only Cleo can transit between both. Like she demonstrates in the Zovek scene, only she has grace. We open the film looking down, we close looking up- but the sky, the plane, is always far away.
— Guillermo del Toro (@RealGDT) January 14, 2019
Cuaron often uses the Ocean in a metaphorical way: Children of Men, Roma, Y Tu Mama Tambien, etc
— Guillermo del Toro (@RealGDT) January 14, 2019
And the great ending of Gravity... The studio was pressuring Alfonso to "show" helicopters in the sky, coming to rescue Sandra Bullock's character. He said "no". Emerging from the water was the triumph, touching the earth- standing...
— Guillermo del Toro (@RealGDT) January 14, 2019
The studio then said: "Ok what about hearing the helicopters?" Alfonso, once more, said "no". The studio then suggested adding a radio giving her coordinates, promising help. Alfonso said "no". Once more an ending made of Air, land and water.
— Guillermo del Toro (@RealGDT) January 14, 2019
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Tags: Αλφόνσο Κουαρόν, Roma, Ρόμα
