Featured Review
London Film Festival 2024 – The Room Next Door ★★★★
Released: 25 October 2024
Director: Pedro Almodovar
Starring: Julianne Moore, Tilda Swinton
Known for his provocative and vibrant features, Spanish director Pedro Almodóvar has been teasing fans about an English language film since his 2020 short The Human Voice. It may have taken him several years (plus a couple of projects that include Academy Award nominee Parallel Mothers and cowboy short Strange Way of Life) but now, he reunites with Tilda Swinton, who starred in The Human Voice, in his first English-language feature-length film, The Room Next Door.
Based on the novel What Are You Going Through by Sigrid Nunez, The Room Next Door Martha (Swinton) and Ingrid (Julianne Moore) are former colleagues who have lost touch with each other. During a signing for her latest book, Ingrid discovers Martha is suffering from cervical cancer and soon visits her in hospital, where Martha reveals that she is sick of having treatment and wishes to die on her own terms – and for Ingrid to help her.
At first glance, audiences familiar with the filmmaker’s works will recognise a lot of themes and elements that are common in Almodóvar’s films. The combination of death, LGBTQ relationships, and maternal moments of reflection amid bold colours, costumes and production design feels like revisiting an old friend. Their familiarity may come across as a tried-and-tested formula but it proves that the director not only has an understanding of these points but can translate them to resonate with English-speaking audiences. But creating a cinematic adaptation with two main characters rather than developing an original narrative with an ensemble cast allows the director more control over a smaller group of elements, streamlining his foray into new territory.
There is an immediate sense of sullenness upon hearing Martha’s diagnosis yet this is compounded by her acceptance of death only to regret her ongoing survival. She is undergoing experimental treatments and chemotherapy but solemnly comments: “survival almost feels like disappointing”. A pessimistic yet wistful comment, it implies that these treatments – experimental or conventional – are prolonging her suffering, as well as denying the inevitable. This frustration with undergoing futile treatments give her time to reminisce about her relationships with daughter Michelle and her experiences as a war reporter, both of which are laced with regret. However, these memories and tension feel unresolved and despite a moment of intrigue over a letter from Michelle, this subplot is quickly concluded to usher in the next step of Martha’s “plan”.
Throughout The Room Next Door, the actions of the characters are implicitly “their choice”. From Martha wanting to die to Ingrid’s decision to accompany and assist her friend, they act of their own accord with little influence from third parties. With Alberto Iglesias’ score adding some melodramatic notes, Almodóvar keeps the action between two emotionally conflicted women with different opinions about death. Although additional characters such as mutual friend Damien (John Tuturro) and Stella (Sarah Demeestere) offer fresh perspective on the situation, they do not come between the protagonists and their opinions of euthanasia. Ingrid fears death but is willing to support Martha, who is frustrated with the lack of progression and realises that there is no solve-all cure for her condition. Almodóvar controls the focus of the narrative on these protagonists yet the controversial topic of assisted suicide is not overly evident – even when a presumptuous religious cop (Alessandro Nivola) chimes in with his view on the issue.
With two Academy Award-winning actresses at its helm, Swinton and Moore are thoroughly captivating with their natural chemistry emanating from the screen. As their characters commit themselves to Martha’s plan, they beautifully deliver gentle expressions and emotion-filled turns that creates a platonically seductive friendship that carries the film. Almodóvar visually captures the endearing connection between Martha and Ingrid by keeping them close in personal scenes and a candid screenplay that divulges their darkest thoughts. The result is a personal journey that invites you in with open arms – and to close the door behind you.
Moore and Swinton is the on-screen partnership that 2024 didn’t expect but seeing them together in Almodóvar’s first English-language feature feels like a dream collaboration. Although the filmmaker doesn’t tread too far from familiar ground, The Room Next Door feels like a steady return to form that may spell a new era in Almodóvar’s filmography.
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