What Cuarón wanted, the director told me, was to make “a kind of spiritual X-ray of my family, with its wounds and its sores.” Staring into childhood trauma, stylizing it, exploring it from the vantage of maturity in order to understand the construction of the self: Such therapeutic forensics are so common among artists that they’re almost a cliché. Cuarón’s brilliance lies not in his subject but in his decision to make himself a peripheral character. Almost every scene includes an event that would have been unforgettable for a young boy: the night he witnessed a fire, the afternoon he discovered a family secret, the day he nearly killed a sibling. But you need to track back to piece that all together, because Paco, the character based on Cuarón, rarely holds the center of the frame. Instead “Roma” follows Cleo — a character based on a domestic worker who has lived with Cuarón’s family ever since he was a newborn.
En español: https://www.nytimes.com/es/2018/12/13/alfonso-cuaron-roma-entrevista/