You could call Roma the most colorful black-and-white film ever made. After the Centerpiece screening at the 56th New York Film Festival, writer/director Alfonso Cuarón noted how important the visual presentation was to the overall effect of the movie. Crucial among his points was that this black-and-white is “not a nostalgic black-and-white” but instead “modern” and “pristine,” disabusing the viewer of the notion that this tale is unfolding in a long-forgotten place or time. Despite being assured throughout the film that the place is Mexico City and the year is 1971, Roma simultaneously manages to assure you that what’s happening is happening here and now.
You could also single out the production design, the incredible detail in every frame of the film, as a primary contributor to this experience of color in a movie that supposedly doesn’t have any. A sweeping shot of the countryside seems to give off a yellow hue because the lighting is so sunny and natural; muddy brown makes its way into an otherwise cold shot of a discarded action figure and a flattened soccer ball in the garage outside. A rock thrown through a window in one scene leaves a hole that we look through weeks later, and somehow this lasting detail even evokes color in clear glass.