Roma (2018 Alfonso Cuarón & scr, ph, ed)

Right. Chivo would have shot it, but there was a schedule clash, which is why 'Alfonsito' photographed it himself in a very simple, formal way in which the camera is often in a fixed position, panning, or performing long lateral tracking shots. Almost nothing is in close up and there's no music. Chivo loved it.* It's beautifully lit and composed (BAFTA nominated). It was shot in colour on a digital Alexa 65mm and post-processed.

Cuarón tried not to make any shots that were like other directors' in making a very personal tale about his own childhood and the family maid, enacted here by non-professional Yaliza Aparicio, who was not even shown the script in key scenes (including the birth). It emerges also as a subtle but pointed commentary about the state of the country (which Cuarón believes now is even worse).

The excerpt from Marooned is not as I thought a nod to Gravity but in fact a film the director himself saw several times as a child.

I thought it was going to be a quiet and personal film, which it was - I was not expecting these massive scenes which must have required so much in terms of production design (Eugenio Caballero), but also in staging - there's so much going on in the backgrounds, everything has to be timed to perfection (this applies just as much to the intimate scenes at home). Thus we have these remarkable evocations of the slums, the martial arts training, the moment in the children's store with riot outside, and especially that incredible scene where the camera moves (again laterally) without cut as Cleo saves the children from the waves.

The significance of the scene with mother Marina de Tavira and Cleo, both deserted by men, looking at each other, while there's a wedding party emerging in the background was not lost on me (loved the giant crab model as well).

Also the scene in the forest with the (I think deliberately planned) fire, so well staged, amazing stuff. Made me think (I know, Alfonsito doesn't want me to think of other film-makers) of Kalatozov / Urusevsky's films. It's absolutely amazing.

Such is Alfonso's complete control he seems to be able to conjure aeroplanes whenever he needs them, right from that amazing opening in the reflection of the water.

Someone walk the fucking dog, though!

* I found it very funny that Alfonso won the Best Cinematography Oscar and BAFTA after Chivo had been monopolising it for the last few years.