By this point you’ve probably heard the hype that “Roma” is a cinematic achievement worthy of “Best Picture of the Year,” according to Rolling Stone and many other cultural authorities. Since its release, I resisted for as long as I could–for weeks actually–dreading that my expectations would be squandered. A friend relayed a similar sentiment regarding this hesitation: “It’s this black and white ‘Netflix movie’ shoved down our throats for Awards Season and I just can’t bring myself to watch it yet.”

Up to this point, the Netflix produced content has been a mixed bag, with even the best titles considered verboten in the realm of Oscar material. This prejudice extends beyond the casual viewer to the Cannes Film Festival, who barred the inclusion of films from streaming services.

Eventually, I viewed “Roma,” with my grandparents, who I figured would appreciate a nostalgic black-and-white picture. When we stayed up an hour after their usual bedtime still raving, I knew the movie had worked its magic.

Yes, “Roma” is an incredibly nostalgic picture in black-and-white, but it is also so much more. The film is director Alphonso Cuarón’s love letter to the maid who raised him, an individual who he remains close with and has appeared in a number of his films. While fictional, “Roma” covers the events of Cuarón’s childhood almost exactly as they occurred.

The movie follows Cleo (Yalitza Aparicio), a maid to a middle-class family in 1970’s Mexico. The story consists of multiple vignettes (which are captivating in their own right) that eventually build a singular narrative.

While the film has several monumental events, the scenes of everyday life, such as tucking kids into bed or scraping dog shit off the floor, are some of the most mystifying. A simple, unremarkable scene of Cleo turning off the lights is captured in over a dozen camera angles with gorgeous symmetry and a chorus of nocturnal sounds from the street. While the shots are beautifully composed, the camera is not an imposing or authoritative force. It simply lingers and allows the viewer to gaze at the lives of others.

Not only is “Roma” one of 2018’s finest movies, it also exists as a cinematic turning point. With its success, we can expect the quality and quantity of original streaming films to increase.

The time has ended when one must shovel out $10 and drive to the multiplex to see the newest “Avengers” film. Now, you can enjoy great independent movies from a laptop in your dorm room. This shift also spells the end of what cinema has been up to this point–a voyeuristic collective experience in a dark room full of strangers.

While the folks at Cannes bemoan this loss, they will soon have to accept streaming films as legitimate works of art. In “Roma’s” case, viewers can rejoice for new, intimate access to their movies.

Rating: 10/10