2016 [new]: Ma Rosa

Almost a decade after its release, Ma Rosa remains a brutal, necessary film. It strips away the romanticism of poverty and the false binary of "good citizen" versus "criminal." In the world of , survival is a crime, and justice is a commodity listed for sale.

It was a performance that baffled some critics initially because it lacked the theatrics usually associated with award-winning roles. There are no long monologues or emotional breakdowns. Instead, Jose relies on micro-expressions. We see Rosa’s weariness in the slump of her shoulders; we see her cunning in her eyes as she negotiates with the police; we see her fear in the tremor of her hands. ma rosa 2016

Cannes jury president George Miller ( Mad Max: Fury Road ) stated that Jose’s performance was chosen because she "made the audience feel every moment of her desperation." She does not play a saint or a villain; she plays a mother. And that specific, unglamorous humanity is what cuts the deepest. Almost a decade after its release, Ma Rosa

The film is shot almost entirely with handheld cameras, utilizing natural light and on-location sound. This technique creates a "you are there" sensation that can be claustrophobic. The camera lingers on sweat dripping down a character's temple, the chaotic traffic of the streets, and the cramped interiors of the homes. This visual language serves a purpose: it forces the audience to share the discomfort of the characters. There are no long monologues or emotional breakdowns

In the final shot, Rosa turns to her son and asks, "Should we go to the media?"