Review of The Room Next Door: Almodóvar’s Gorgeous, Fragile Tale of Life & Death

Pedro Almodóvar’s latest masterpiece, his 23rd feature but first in the English language, presents itself as a delicate Spanish flower struggling to adapt to a foreign landscape. This new melodrama, imbued with themes of death and reconnection, initially appears fragile, but it blooms into something exquisite, proving its worth through its tender vulnerability.

Tilda Swinton stars as Martha, a former war correspondent now facing a terminal cervical cancer diagnosis. Desiring to reconnect, she reaches out to an old friend, Ingrid, played by Julianne Moore. Ingrid, who has since become a celebrated writer of autofiction, is taken aback when Martha reveals her plan to have Ingrid by her side during her euthanasia. Their reunion is tinged with unresolved emotions, having once been colleagues and briefly sharing a lover, Damian, portrayed by John Turturro.

Initially, the movie feels sluggish as it attempts to find its footing. Almodóvar’s distinctively spiky dialogue seems to lose some of its potency in the English translation, and the film’s American settings, characterized by iconic imagery like milkshakes and flatbed trucks, evoke memories of Wong Kar-Wai’s “My Blueberry Nights,” which many felt was mishandled. However, once the setting transitions to a brutalist house in upstate New York, near Woodstock, the story begins to thrive.

Here, the interactions between Ingrid and Martha gain depth and poignancy. Discussing profound topics such as life and death proves challenging even among close friends, and their conversations highlight the difficulty of these subjects. These ex-colleagues navigate the terrain like explorers, often faltering but persistently seeking understanding.

In their secluded room, the women converse about literary giants like Faulkner and Hemingway, intellectually defending themselves with a wealth of literary references. Meanwhile, Damian, now disenchanted, sees little value in literature amidst the looming threat of climate change, a grim reminder of the precarious state of the world.

A memorable scene unfolds as unseasonable snow blankets the Hudson Valley, prompting Ingrid and Martha to observe it with a sense of wonder. Martha reveals her plan, promising to leave her bedroom door ajar every night. When Ingrid finds it closed, she’ll know Martha has claimed her own life.

Despite the film’s American facade, it retains Almodóvar’s preoccupation with mortality, echoing themes from his previous works like “Pain and Glory” and “Parallel Mothers.” “The Room Next Door” continues this introspective journey, delivering a reflective and tender narrative.

As Almodóvar explores the subject of mortality, he offers a poignant portrayal of friendship rekindled. The dynamic between Swinton and Moore enriches the film, transforming it into a heartfelt duet that leaves a profound impact as the credits roll. It’s a story that reminds us of the inevitable passage of time and the fleeting nature of life, leaving viewers in a state of contemplative bereavement.

“The Room Next Door” screened at the Venice film festival.

Source: The Guardian