Tilda Swinton and Julianne Moore’s precious chemistry make for an arresting, subtle work of art in Pedro Almodóvar’s first English Language Film.
Not wanting to die alone is a feeling all too familiar. The fear of mortality is something anyone can relate to. And Martha (Tilda Swinton), diagnosed with cancer, faces that fear the most. Pedro Almodóvar, the most beloved Spanish director of his generation since Luis Buñuel. Known for his melodramas, queer themes and bold colours. Most importantly, he always films in Spanish. So for once, he decides to change things up and, in a way, attempts maybe his greatest challenge yet. His first English-language feature film. Not only that, but he explores his most mature and existentialist story yet. It’s clear he is in search of answers as he reflects on his long, rewarding career as a decorated filmmaker.
The Room Next Door is a picturesque meditation on the nature of mortality, showing the beauty found in life and the transient inevitability of death. Through living in tragedy and isolation, we find old friends reconnect as Ingrid (Julianne Moore) reaches out to Martha (Tilda Swinton) in her time of need. The film begins with Ingrid covering a meet-and-greet for her latest book. Her PA has informed her to end the greet since it is late, despite there being a line of fans waiting their turn. But Martha insists on giving everyone their due time and greets every single fan.
This immediately tells us the kind of person Martha is. Someone willing to go out of her way to acknowledge everyone or perhaps afraid of letting anyone down. Reminding me of Ingmar Bergman’s Autumn Sonata, ironic since the lead is called Ingrid and there is an Ingrid Bergman picture in the film, who starred in the film.
Female Friendship
As Ingrid finds out from a friend about the news that her old friend Martha is diagnosed with cancer and receiving treatment, she rekindles a dormant friendship and comforts her. They catch up on life and their relationships as any long-term friendships do. This is when we see Martha politely request the biggest favor: to assist in her euthanasia. When faced with a terminal disease or when your life is immediately halted due to an injury, it forces you to reflect.
Do you wait it out and go through every rigorous treatment possible and surrender your quality of life? Death is something no one can control, and it happens suddenly, so to Martha, this is like winning a lottery. By taking control of her death, she can end her life on her terms in the best way possible. A luxury not afforded to anyone, as our life is stolen from us when we tend to least expect it.
This puts Ingrid in a difficult position. Do you say no and choose to help a friend endure the treatment and recovery process? Or do you help them live the best life possible while they still have some time left. You could leave them with fond memories to be remembered by? What complicates this is that Martha isn’t on good terms with her daughter, as they never saw eye to eye with how her dad mysteriously left the picture. Ingrid is reluctant but chooses to think of Martha and selflessly helps her as they go on a trip to a remote home to live the rest of Martha’s days while giving Ingrid an alibi to work with, as euthanasia is not legal in the US.
Reflection on Love
The film shines when it focuses on Tilda and Julianne’s pairing. Seeing them watch movies together and spend quality time in each other’s presence is a joy to watch. It raises questions about how society can feel intrusive in people’s lives, bankrupting their agency in times like this where privacy is of paramount importance. The soothing score and seasonal cinematography cast a spell on you. You feel at ease, knowing things will turn out okay. A refreshing change of pace for a film dealing with death.
Pedro encourages us to value our time with our loved ones. It’s never too late to reach out to someone, regardless of the circumstance. Life can rush past us, but it is within the palm of our hands to make the most out of it. The clock never moves backward, but you can always move it forward so long as you try to move those hands that guide it.
Pedro Almodóvar’s first English-language film is a resounding success. So poignant and infused with mundanity, graceful in humour, and achingly painful when it needs to be. It’s not often you see films depict friendships between older women at all, let alone with so much care. Tilda Swinton and Julianne Moore’s chemistry is everything in this tender, loving portraiture of a film. The biggest ovation of the Venice Festival, totalling 17-18 minutes, give or take. Well-deserved and worth the applause. The Room Next Door reminds us that no one is ever too far to reconnect as long as you try to reach them. No door should stop you from showing your love and support to your friends and family.
The Room Next Door releases in UK theatres on October 25th and US theatres December 20 for a limited time.
