MOVIE REVIEW – Pedro Almodóvar’s first English-language feature film, The Room Next Door, delves into taboo topics such as euthanasia and the acceptance of death. The story tells the story of a special relationship between two women who are faced with the most difficult decision of their lives. The film offers viewers a clean, yet emotional narrative. Julianne Moore’s performance is restrained but less nuanced, while Tilda Swinton’s dual performance stands out strongly. The director’s famous visual style and authentic depiction of New York, however, highlight his work, even if it is sometimes overwrought and theatrical.

Pedro Almodóvar has experimented with short-form films, such as 2020’s The Human Voice and 2023’s Strange Way of Life, but The Room Next Door is his first English-language feature film. The film raises questions that American fans have long asked: does Almodóvar work in English? These are legitimate questions, especially considering that some arthouse directors—like Wong Kar-wai, creator of In the Mood for Love—have had less success directing English-language scripts. The film, starring Tilda Swinton and Julianne Moore, is likely to do well at festivals and with arthouse audiences. Although the director is known for his melodramas and his subject is euthanasia, the film remains surprisingly detached. It doesn’t slip into the sentimental, “TV movie” category and doesn’t look down on the viewers, but it does leave a cold indifference at times.

The door in the next room opens

Martha (Swinton) is battling stage three cervical cancer. At a book signing, Ingrid (Moore) learns about Martha’s illness through a mutual friend. The two women have known each other for a long time, having previously worked together at a magazine, but their relationship was cut short when Martha took a job abroad as a war correspondent. Ingrid soon visits Martha in the hospital, where she is undergoing experimental treatment. Almodóvar’s script doesn’t delve into the intricacies of cancer symptoms and treatments – but it will still be especially touching for those who have faced similar struggles themselves. Swinton’s performance often surpasses the level of authenticity created by the makeup artists and screenwriters.

Ingrid promises to visit Martha regularly. But over time, the treatment proves ineffective and the pain becomes unbearable, so she wants to say goodbye to earthly life with dignity. Martha finally decides to stop the treatment and plans to end her own life in a luxurious forest house in a fabulous natural environment in the north with the help of a pill purchased on the Dark Web. She asks Ingrid for support in this. After other friends refuse her request, Ingrid agrees after a long fight. However, when they return to the city because of the pill left at home, they turn the apartment upside down to find the deadly pill, which Ingrid hands over without hesitation after finding. The film does not give a clear answer as to whether Ingrid’s actions were aimed at relieving Martha’s suffering or whether she was simply resigning herself to the unchangeable.

Was Almodóvar always like The Room Next Door?

Based on Sigrid Nunez’s 2020 novel, What Are You Going Through, The Room Next Door is an unusually verbose film by Almodóvar. After the scenes, we feel as if we are watching an adaptation of a play. Another striking element is the use of what can be considered average camera angles, especially the settings used for dialogue. This might prompt viewers who want to delve deeper to revisit his Spanish-language work and decide whether it has always been like this or if it is only now becoming apparent. The only really interesting directorial decision is in the scene with Ingrid’s personal trainer, where he shows her workout moves with unusual cuts.

This time, Almodóvar has chosen New York as the setting. Fortunately, the depiction of the city feels authentic and alive. Locals will recognize cultural icons from the first frames, such as Rizzoli in the Flatiron and, of course, Film at Lincoln Center, where almost all of his films have been screened. New York cinephiles will be grateful for this gesture.

Almodóvar’s distinctive visuals and characters

The production design, by Inbal Weinberg, is stunning. It’s no wonder that dozens of interior design blogs will soon be writing about how to get Martha’s turquoise sofa or emerald green kitchen cabinets. These elements are truly inspiring, even if they’re not offered by the expensive Design Within Reach or ABC Carpet & Home. Like so many other New York pop culture icons—like Friends or Sex and the City, The Room Next Door tends to understate the city’s real estate realities. This is especially striking, as New York viewers, who probably make up the bulk of Almodóvar’s American fan base, might easily assume that all of these characters are millionaires—who else could afford these apartments?

Almodóvar has always been known for his memorable characters and iconic female leads. This time, however, that’s less the case, even with such acclaimed actresses as Tilda Swinton and Julianne Moore. A spoiler—though not a particularly significant one—is that Swinton also appears later in the film as Martha’s estranged daughter, Michelle. Although she has a radically different hairstyle, her physical appearance shows no significant difference between the two characters, which characterizes the deep yet tumultuous relationship between mother and daughter. This, perhaps unintentionally, only serves to highlight Moore’s understated performance.

-Anikó Angyal-