Roma is the new movie by Alfonso Cuaron,
in which he narrates the life of Cleo as a domestic worker, for an upper middle class family in Mexico City during the 70s.
In a very personal production from the Mexican Director, the contrast between social classes is explicitly exposed,
which has started an important conversation, since it is still a current reality in Mexico.
This is therefore an exceptional job that radically questions us as the audience,
and at the same time, leaves us with the responsibility of interpreting it.
The movie's aesthetics perfectly display the way in which the exploitation and the violence in domestic work have been normalized in Mexico.
That is to say, social criticism is present in the film,
however, those who are looking for explicit and revolutionary references, won't find them,
and those who only see an affectionate dimension in the relationship of subordination between master and worker are in a bubble of privilege.
Even though there is a sincere affectionate relationship, we keep seeing the real disconnection between the two parties,
what is artificial and what is hierarchic in that affection.
Sure enough, there are people who conceive this type of relationship as something normal, these people end up being exposed.
Cleo lives in a house that isn't hers, and receives commands from a family, which isn't her family either;
she lives to serve them, regardless of her servitude being in the frame of an endearing relationship.
It is a virtue of the film that certain people won't see an element of domination in subtleties like "I love you, go get me an ice cream" -
the exploitation disguised by kindness shows that Roma isn't something from the past, even though some people believe so.
The story of the main character is determined by the heritage of colonization,
that still divides Mexican society through language, culture and social class, which paradoxically unites us in an inescapable way.
Cleo is one of those millions of women that suffer an intersectional discrimination,
the one that comes from social relations, history and operation of power dynamics.
Her vulnerability comes from her feminine condition, which is what places her in a structural subordination. On top of that, there's her poverty and her race.
Between the lines, we find that the combination of inequities, discrimination, poverty and ignorance when it comes to sexual and reproductive health services is pivotal,
and an ongoing reality in our country.
What Cleo lives, is part of a systemic infringement of rights that women in her circumstances experience,
not having the social, financial or political power to make decisions for their lives, their bodies and their sexuality.
Hence, we have a movie that makes us debate, and forces us to pick our stance and define ourselves in the face of this reality,
and that is one of its great accomplishments.
People have opinions, and that's where we find out who they really are beyond the façade that a politically correct speech can have.
In this sense, the film tells a story in a beautiful way, but leaves us the responsibility of interpreting it.
These are the different aspects of life, and political-ideological analysis - the social aspect, gender, racism and political matters is offered, but not imposed on the viewer.
We must say, however, that whoever understood the movie as redeeming of ideologies, somehow pleasant, or an endearing love story, didn't pay attention to the violences that are repeatedly portrayed.
"In people, just like in nations, if being the servant means not having rights, being the master means not having conscience."
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