©Photo by Alberto Pizzoli/AFP
Pedro Almodóvar, the iconic Spanish filmmaker, makes his English-language feature debut at 74 with The Room Next Door, a melancholic tale of assisted suicide starring American powerhouses Tilda Swinton and Julianne Moore, vying for the Golden Lion at the Venice Film Festival.
At the age of 74, Pedro Almodóvar, the revered Spanish auteur known for his provocative and emotionally charged films, has taken a bold step into uncharted territory with his first English-language feature, The Room Next Door. The film, competing for the prestigious Golden Lion at the Venice Film Festival, delves into the somber subject of assisted suicide, with a star-studded cast led by Tilda Swinton and Julianne Moore.
The Room Next Door follows the story of Ingrid (Julianne Moore), an anxiety-ridden novelist grappling with the inevitability of life’s end, and her childhood friend Martha (Tilda Swinton), a former war correspondent accustomed to staring death in the face. Through a series of flashbacks, the film unravels Martha’s life – her estranged daughter, the result of a demanding career that left no room for motherhood and a string of lovers to whom she never truly connected. A strong, independent woman, yet ultimately alone.
When the two friends reunite, Martha is in the final stages of cancer. Refusing to endure another grueling and uncertain treatment, she resolves to end her life on her own terms, with the help of an illegally obtained medication. She entreats Ingrid to be by her side in her final moments, in a luxurious rental home in the countryside, in “the room next door.” Ingrid, while never far, will not have to administer the pill, which Martha intends to take alone, one night, behind her closed door. Martha promises Ingrid that their arrangement will remain a secret. However, Ingrid confides in a man (John Turturro) who was once a lover to both women.
While the film’s premise seems quintessentially Almodóvarian, The Room Next Door departs from the director’s earlier works, known for their kitsch and provocative comedic elements. It also diverges from his more recent autobiographical vein, as seen in Pain and Glory, instead leaning heavily into melodrama. While the subject of euthanasia has been regularly explored in cinema, Almodóvar’s approach doesn’t necessarily revolutionize its portrayal.
Spanish director Pedro Almodovar actress Tilda Swinton (L) and actress Julianne Moore - Photo by Alberto Pizzoli/AFP
The film attempts to draw parallels between the end of life and the impending climate catastrophe, venturing into socio-political commentary. Almodóvar, whose works increasingly grapple with physical decline and the fear of death, elaborated on this theme during the press conference, stating, “The film is about a woman who is dying in a world that is probably also dying.”
Reflecting on his own mortality, Almodóvar shared, “I was born in the La Mancha region, where there is a profound culture around death… I feel very close to Julianne’s character. I cannot accept that something living must die. Death is everywhere, but it’s something I have never understood. I’m 74 years old. Every day I spend is one day less that I have left.”
Filming in the United States, in English, has been a long-held aspiration for Almodóvar, an undisputed master in his native Spain and a prominent voice in European cinema, with films like Tie Me Up! Tie Me Down! and The Law of Desire. After several unsuccessful attempts in Hollywood, Almodóvar chose to set his film on the East Coast, in New York State, the city that first embraced his work in the United States during the 1980s.
The Room Next Door marks Almodóvar’s third foray into English-language filmmaking, following the 2020 short film The Human Voice, also starring Tilda Swinton, and the even shorter Strange Way of Life, a gay western featuring Ethan Hawke and Pedro Pascal, released earlier this year.
For The Room Next Door, Almodóvar once again collaborated with composer Alberto Iglesias for the original score and partnered with renowned fashion brands for the actresses’ wardrobes. As the director explained to AFP in June, “Each character must be dressed in a certain way. In this way, many emotions are told.”
As Almodóvar continues to confront the complexities of life, death and the human condition in his work, The Room Next Door serves as a testament to his enduring artistry and his willingness to explore new horizons, even in the twilight of his career. While the film may not revolutionize the discourse around assisted suicide, it undoubtedly marks a significant milestone in the director’s oeuvre, as he fearlessly ventures into a new language and cultural landscape.
With AFP
At the age of 74, Pedro Almodóvar, the revered Spanish auteur known for his provocative and emotionally charged films, has taken a bold step into uncharted territory with his first English-language feature, The Room Next Door. The film, competing for the prestigious Golden Lion at the Venice Film Festival, delves into the somber subject of assisted suicide, with a star-studded cast led by Tilda Swinton and Julianne Moore.
The Room Next Door follows the story of Ingrid (Julianne Moore), an anxiety-ridden novelist grappling with the inevitability of life’s end, and her childhood friend Martha (Tilda Swinton), a former war correspondent accustomed to staring death in the face. Through a series of flashbacks, the film unravels Martha’s life – her estranged daughter, the result of a demanding career that left no room for motherhood and a string of lovers to whom she never truly connected. A strong, independent woman, yet ultimately alone.
When the two friends reunite, Martha is in the final stages of cancer. Refusing to endure another grueling and uncertain treatment, she resolves to end her life on her own terms, with the help of an illegally obtained medication. She entreats Ingrid to be by her side in her final moments, in a luxurious rental home in the countryside, in “the room next door.” Ingrid, while never far, will not have to administer the pill, which Martha intends to take alone, one night, behind her closed door. Martha promises Ingrid that their arrangement will remain a secret. However, Ingrid confides in a man (John Turturro) who was once a lover to both women.
While the film’s premise seems quintessentially Almodóvarian, The Room Next Door departs from the director’s earlier works, known for their kitsch and provocative comedic elements. It also diverges from his more recent autobiographical vein, as seen in Pain and Glory, instead leaning heavily into melodrama. While the subject of euthanasia has been regularly explored in cinema, Almodóvar’s approach doesn’t necessarily revolutionize its portrayal.
Spanish director Pedro Almodovar actress Tilda Swinton (L) and actress Julianne Moore - Photo by Alberto Pizzoli/AFPThe film attempts to draw parallels between the end of life and the impending climate catastrophe, venturing into socio-political commentary. Almodóvar, whose works increasingly grapple with physical decline and the fear of death, elaborated on this theme during the press conference, stating, “The film is about a woman who is dying in a world that is probably also dying.”
Reflecting on his own mortality, Almodóvar shared, “I was born in the La Mancha region, where there is a profound culture around death… I feel very close to Julianne’s character. I cannot accept that something living must die. Death is everywhere, but it’s something I have never understood. I’m 74 years old. Every day I spend is one day less that I have left.”
Filming in the United States, in English, has been a long-held aspiration for Almodóvar, an undisputed master in his native Spain and a prominent voice in European cinema, with films like Tie Me Up! Tie Me Down! and The Law of Desire. After several unsuccessful attempts in Hollywood, Almodóvar chose to set his film on the East Coast, in New York State, the city that first embraced his work in the United States during the 1980s.
The Room Next Door marks Almodóvar’s third foray into English-language filmmaking, following the 2020 short film The Human Voice, also starring Tilda Swinton, and the even shorter Strange Way of Life, a gay western featuring Ethan Hawke and Pedro Pascal, released earlier this year.
For The Room Next Door, Almodóvar once again collaborated with composer Alberto Iglesias for the original score and partnered with renowned fashion brands for the actresses’ wardrobes. As the director explained to AFP in June, “Each character must be dressed in a certain way. In this way, many emotions are told.”
As Almodóvar continues to confront the complexities of life, death and the human condition in his work, The Room Next Door serves as a testament to his enduring artistry and his willingness to explore new horizons, even in the twilight of his career. While the film may not revolutionize the discourse around assisted suicide, it undoubtedly marks a significant milestone in the director’s oeuvre, as he fearlessly ventures into a new language and cultural landscape.
With AFP
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