Removes Roma's visual distance but retains its stately beauty, so of course it works better for a similar tale of motherhood made wretched by a colonial society in flux. This perhaps loses its focus towards the end with the introduction of a well-meaning (if distracting) subplot, but there's absolutely no denying the heartbreakingly intimate relationship between the camera and Pamela Mendoza. From her quiet, unheard lullabies to her constant waddle that suggests she'll never be unpregnant again, she's an absolute force of nature at the heart of this sad, sorry story.
Packs so much of an intimate punch in doing so much with so little that you can't be blamed for wanting it to be longer. Like Zed's career, it's over before it's really begun, and Riz carries so much emotional and social weight into this one that it lies on your chest like a ton of bricks for 89 magical, uncomfortable minutes. Certainly one of the best personal films I've seen in a very long time.
Me: Do you like Mary Harron’s adaptation of Bret Easton Ellis’ American Psycho?
Snooty Film Analyst: It’s OK.
Me: The later scenes are a little too abstract for my tastes, but when Bateman’s monologuing carries on throughout all 102 minutes, I think it really comes into its own, commercially and artistically. The whole film has a clear, crisp look, and an old sheen of consummate professionalism that really gives Andrzej Sekula’s cinematography a big boost. Mary Harron's been compared to…