Pedro Almodovar's first English-language film, 'The Room Next Door', starring Tilda Swinton and Julianne Moore, delves into the weighty subject of euthanasia. The movie follows two old friends, Martha and Ingrid, as they confront Martha's terminal illness and her decision to end her life on her own terms. While the film boasts Almodovar's signature visual style and powerful performances, the dialogue sometimes feels overly formal and stagey.
Death’s embrace looms in the new film from Pedro Almodovar , a showcase for stars Tilda Swinton and Julianne Moore in what is the English-language feature debut of the Spanish master. It is an overwhelming subject, felt through the plot’s focus on euthanasia or the way it makes the characters sometimes deliver blunt pronouncements. What ensures is an artful but nonetheless untoward movie, a chamber piece cold to the touch even as the final flames burn.
I hungered for some earthiness, a flash of idiom. Working in English for his adaptation of Sigrid Nunez’s 2020 novelapplies a formality to Almodovar’s words. That mirrors his precise visual compositions, which are keyed to his signature reds and Swinton’s vertiginous face. The expressiveness Almodovar finds in a tracking shot of the two women reclining on sun lounges at the upstate holiday home Martha has rented is sublime, but a counterpoint would help.
Some of the dialogue feels stage in Pedro Almodovar’s The Room Next Door, which is his first English film. At one point Martha and Ingrid reminisce about a lover from their youth who went from seeing the former to the latter, and the lines somehow sound like a bureaucratic assessment. Swinton and Moore make the best of these linguistic strictures, and in other ways the pair flourish.
As much as Almodovar has a deep appreciation for golden era Hollywood melodrama, where a Bette Davis would gloriously succumb to an incurable ailment and leave the audience bereft,has a more twisty, ruminative momentum. Several times the story hints at different films it could become, be it describing the broken bond between Martha and her now-adult daughter, Michelle, or a Hitchcockian thriller where Martha is coolly testing Ingrid’s resolve.
Pedro Almodovar Tilda Swinton Julianne Moore Euthanasia Film Review
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