User reviews

I was curious to see what Pedro Almodóvar would do differently in his first non-Spanish-language film, built around two of the most talented actors working today. The answer, alas: it's disappointing. There are many ways in which "The Room Next Door" lacks what makes Almodóvar's work so distinctive - the spontaneity, the sense of improvisation, the comic timing, the fizzy ensemble work -- but this film's main fault, as I see it, is that it's just plain overwritten, something that is rare in his previous work.

The screenplay (which he is credited with writing) was adapted from a novel by Sigrid Nunez that I have not read, but it sounds like vast swatches of the dialogue were lifted verbatim from it, with much that is ponderous and stilted, slowing down and emptying the film, where Almodóvar's work is usually characterized by lapidary dialogues and madcap forward movement, plunging you into the characters' world with little exposition - as a viewer, you are kind of just there, hanging on for dear life, and figuring out relationships and social context as you go, grabbing at what you can. Even in films that deal with dark subjects ("Pain and Glory" or "Bad Education" come to mind), the action and its background unfold in convincing ways (even when these are actually crazy if you stop and think about them) that draw on our intuition and empathy and depend only marginally on extended expository narration.

Here, it is the opposite: the characters talk and explain on and on, with a few awkward flashbacks to establish context. Little is left to our imaginations. So, while some of the usual Almodóvarian hallmarks are there, particularly in the exquisite use of saturated, cunningly coordinated color and in the tastefulness of many of the sets and costumes (here with lots of lovely still lifes of flowers and fruits), these are reduced to props - they don't serve to tell the story and overwhelm you into accepting the reality of his crazily artificial visual worlds in the way they do in most of his films. And the computer-generated backdrops of New York feel completely artificial and thus become meaningless. Almodóvar's films certainly have plots, often quite convoluted (which is part of the fun), but they don't feel plot-driven, even when they are. "The Room Next Door", on the other hand, is all about its plot, and it is the weaker for it.

With talents like Tilda Swinton and Julianne Moore (plus the estimable John Turturro) in front of the camera, there have to be, and are, some great, often very moving, moments - how could there not be, especially given the plot's central premise and the way it both reinforces and strains a longstanding , close friendship in its final days? But the wordiness of this screenplay undermines Swinton, in particular. Her awesome strength lies in her powerful, enigmatic presence and in her understatement. In my unscientific assay, she speaks as much dialogue here as she has done in at least the last three or four of her films (the ones I've seen, that is) combined. Think of her stunning performances in another fairly recent film about the fraught relationship between two women, "The Eternal Daughter" (2022), in which she plays, devastatingly, both an aging mother and her middle-aged daughter. The relationship between the two is subtle, shifting, complex, rich and involving - and yet so little of that is based on explicit dialogue. Or take her terrific performance in "Memoria" (2021), the enigmatic masterpiece of cosmic messaging by one of the greatest of all non-verbal directors, Apichatpong Weerasethakul. These are the kinds of films in which Swinton flourishes, going all the way back to "Orlando" (1992). (She did make "The Human Voice", speaking an extended monologue by Jean Cocteau - remarkable, and showing her versatility, but not characteristic of her.) In "The Room Next Door", she is required to deliver page after page of stilted - downright unnatural - prose in ways that are uncomfortable to watch and that are alienating, at least for this viewer. (This is all made worse by the upper-class, educated-American accent Swinton is required to employ. It's impeccably observed, as you would expect from her. But, as is so often the case with actors speaking lines in accents that are not their own, you sense that a lot of the energy that should be going into the interpretation is instead being directed into making sure they get the accent right. That is definitely the case here, especially since so many of her monologues are delivered in exceedingly tight shots.)

So I speak in sadness, as someone who's been an unconditional admirer of Almodóvar going back to the 1980s. His films have always been based on his own very peculiar, very specific vision of a Spanish culture that may never have existed in reality, but in which he makes us want to believe. Stepping out of that into English and into such a different, and less compelling, American world appears to have been a mistake. Let's hope that Almodóvar, as he pursues his amazing, extended, and rich career, will quickly go back to being himself, not the unnatural, wordy, uncompelling version that we are given here. This one, I fear, was a mistake.

It's hardly imaginable that there has been a more stylish, more elegant and more sophisticated movie about death before this latest achievement from Pedro Almodovar.

The set design, choice of colors and costumes makes this an almost too extravagant aesthetic pleasure to watch.

My problem is that the movie never finds the depth, which should be required in dealing with such a serious and profound topic. Should one have the freedom and autonomy to decide for oneself whether it's time to put an end to your life or not?

Tilda Swinton and Julianne Moore do their very best in focusing on this question, characterizing a close friendship facing its very last and most complex challenge of all.

But the long dialogues felt wooden and too formulaic for my taste. I was stunned by the visual richness of the movie, but it never touched me emotionally, something I'd have expected from a great director like Almodovar.

It's really sad that this great theme and these great actors were used to make this mediocre, banal and almost demented movie.

The story is good, though I'm guessing the original book does it a better service, but the writing and directing of the dialogue is so bad I first thought it was ironic. Sadly it wasn't. The actors save what can be salvaged with really good performances, but every time they talk you find yourself waiting for them to stop. And most of the movie is dialogue.

There are beautiful shots and great lighting, and a lot of colours borrowed from Edward Hopper, to which the characters even point to not so subtly.

I'm really sad this movie wasn't better.

The Room Next Door is a 2024 drama film adapted from the 2020 novel What Are You Going Through, starring Julianne Moore as Ingrid, a author who receives devastating news from a friend and fellow worker she hasn't seen in years, so travelling to the hospital she meets Martha (Tilda Swinton) and everything seems to be going well until Martha asks Ingrid to aid her in committing suicide after no one else was up for the task.

Excellently done, the film itself does bring a dramatic tone along with some humour sprinkled throughout and it's engaging to say the least. However, I don't think this film is for everyone as it can be a bit slow and the dialogue does take it's time to flourish out the melodramatic atmosphere which I'm very fond of to see in stories. But I think people who are interested in dialogue and good performances should definitely give this one a try.

The acting is very impressive, as 2 of the best actresses in the industry currently, do such a wonderful job and it doesn't seem like they're trying hard, that's how good it is! Also because of this the whole film becomes very interesting and I don't think modern actors now could really deliver this story justice if they were the leads, there's something about these 2 that really create a powerful connection with eachother and I really respect that. Of course, John Turturro is provided to some good use and it was very nice to see him again as Ingrid's ex

The flaw though is the start, the backstory was completely unnecessary and I really don't understand why they had to show all those scenes. I think it was trying to fill up the runtime but I found it quite random and unconnected to what most of the film was about. I didn't understand it, also the acting and dialogue from the backstory was just appalling and really could have been done better or removed as a matter of fact.

Overall, very well made and decent film with mostly great performances and a stellar story to really tidy everything up. Was enjoyable and had me entertained throughout, but it won't be for everyone. Would recommend to people who are fans of the cast or just liking movies in general.

Grade: A

London Film Festival 20th October.

There are more happy moments than sad moments in this film despite its main theme being death & how we cope or don't cope with it.

I haven't watched a lot of Almodovar but I was interested to see his first English film especially with Julianne Moore & Tilda Swinton in it.

Other reviews say that it's nothing new from the director. Having not seen many of his films I can't confirm that. I do admire how he can take something we struggle to talk about and bring colour & happiness to it.

There seems to also be a consensus that more could've been done with the characters considering the quality of actors available to Pedro Almodovar. I don't know about that, I think less is more.

Enough of the characters backstory is expressed to tell the story. Why do more?

My Review- The Room Next Door My Rating 5/10

How disappointed I was that a team of my favourite big cinema names Pedro Almodovar, Tilda Swinton and Julianne Moore could make a movie that irritated me from the first scene till the bizarre final scene..

I found the script and direction by famous Spanish filmmaker Pedro Almodovar contrived , cliched and mawkish even his trademark colour popping sets didn't impress me this time .

Described as a 2024 Spanish drama , which it's certainly not The Room Next Door or in Spanish La habitación de al lado written and directed by Pedro Almodóvar is his English-language full-length debut, based on the novel What Are You Going Through by Sigrid Nunez.

Tilda Swinton and Julianne Moore play two good friends Martha a former war correspondent and Ingrid a successful novelist who after years of being out of touch meet again when a friend informs Ingrid that their mutual friend Martha played by Tilda Swinton is undergoing cancer treatment in a New York hospital.

No spoilers I'll just say how grateful I am that in the country I live that assisted dying for the critically ill has been legalised when the patient meets the right qualifications.

Tilda Swinton and Julianne Moore give impressive performances however at times I thought they seemed artificial as if they were playing off each other in a very average tennis match or maybe a race for an Oscar which I doubt will eventuate.

I didn't really empathise or like either of their characters perhaps Almodovar's English debut gets lost in translation?

For this movie buff there are many unconvincing scenes in The Room Next Door especially when Tilda Swinton in real life now aged 64 appears as Michelle the daughter of Martha .

Any amount of clever make up , change of voice tone and change of hairstyle for me just didn't work.

Perhaps the plot was a little close to home for me as some of my dear friends have passed away recently but I think The Room Next Door is just not a good movie despite the wonderful cast.

Seeing an Almodovar movie in English is a bit weird. This is such a quintessential Spanish director, that the lack of Spanish (apart from one short sentence) seems to take away an essential element from the movie. But even in English, Almodovar stays Almodovar, just like Woody Allen stayed Woody Allen in his French film.

I think this is one of the best movies he has made. It's beautiful, it's touching, it's meaningful. Not many films combine those three qualities. It seems as if with every new movie he directs, he gets closer to the purest film making. In this case, it's a story about two friends who both have to come to grips with death. Martha is dying of cancer and wants euthanasia, Ingrid is an old friend who is afraid of death but nevertheless agrees to accompany Martha in her last days.

This sounds as if the film is very depressing. Let me assure you: it is not. Far from it. There are far more happy moments than sad ones. Even Martha embraces life in her last moments, because she wants to spend them in a stunningly luxurious villa in the woods.

Almodovar once again creates a world of beauty, full of colour and aesthetics. His sets are, as usual, carefully designed. But this is also a very moving film, showing how valuable good friendships can be and how, even in death, dignity and respect are essential values.

Almodovar includes many references in his film. Martha and Ingrid watch movies by Buster Keaton and John Huston, and they go to a cinema where a Rosselini movie is playing. But the most obvious influence, I think, is Ingmar Bergman. Not only is the story reminiscent of Bergman's Persona, but the whole movie has a Bergman-esque feeling. Just like many Bergman movies, it relies heavily on dialogue, tackles themes like death and religion, and has a limited number of characters. The difference: Almodovar adds some Spanish warmth and colour.

I had high hopes for this movie because of the cast. However, the movie disappointed me. While watching it, I got the feeling that when making the movie, it was thought that good actors and a theme of death were enough to make a great movie. Nothing else happens and the whole movie could have fit perfectly into 30 minutes. And this is not a case where the action takes place slowly and deeply until it reaches the main idea or climax. In this case, the film went along a rather boring path without any deviations, as a result of which even the tears of the actors did not move me at all. Pretty bland and lacked depth.

I suggested to my parents and my uncle to go watch the new Almodovar's in theaters. In Spain every time he presents a movie, is an event. So after the credits roll we were all surprised and excited (except my father, but that's normal) and we unanimously said that it has become our favourite of Almo's. What a great job in all aspects. Who would have thought that, after several missteps he would gave us one of his best movies of his career. Everything works: the script is light and deep; he talks about death and life but mostly about friendship and how valuable is. Julianne and Tilda are superb, so credible and touching, the music of Alberto Iglesias, photography, the full cast, everything works. It's a must see for anyone with a minimum of sensitivity and love for the craftwork of cinema.

Successful writer "Ingrid" (Julianne Moore) is signing some books when one of her friends informs her that old pal "Martha" (Tilda Swinton) is suffering from cancer. Upon visiting her in hospital, she discovers that things aren't looking so good and over the following days the two start to become closer, sharing confidences and becoming quite inter-reliant. When an experimental treatment fails to deliver, the former war reporter "Martha" makes quite a bold proposal to her friend that will require them to retreat to a quiet residence in Woodstock where she will take matters into her own hands. Initially quite wary of this plan, "Ingrid" must decide whether or not she wishes to help - with all the moral and legal ramifications that involves, and so she turns to both of these women's ex-boyfriend "Damian" (John Turturro) for advice as she wrestles with her conscience. The concept here is really quite poignant, especially in light of reinvigorated conversations here in the UK about the rights of the terminally ill to make their own choices without fear of those they leave behind being persecuted by either the law or the zealous but I can't say I loved the presentation or the style. Far too much of the dialogue between the two women seems more aimed at filling-in the audience rather than on building a rapport between them. Things that they would have to have known about the other are presented in all too sterile a fashion, and at times I wondered if there wasn't a fair degree of dubbing going on too. Indeed, the whole thing deals with some seriously emotional issues in a remarkably sterile fashion. Both actors deliver strongly, but their dynamic isn't convincing - well, it wasn't for me, and the surfeit of verbiage rather suffocated the emotional impact the film could have made. Alex Høgh Andersen sheds his Viking leathers to remind us briefly of the ghastliness of the Vietnam war but otherwise this is largely down to the two characters dealing with a scenario we all dread, just not terribly convincingly.

Another excellent Almodóvar! Everything that made him famous as a director is there (bright colors, attention to detail in the sets, exemplary photography, etc.), but he also knew how to renew himself and take risks. Absolutely extraordinary and transcendent actresses, from the first scene to the last scene! Tilda Swinton is overwhelming, both in her physical appearance for the role and in her nuances of acting. Weaker male characters. I don't get a perfect rating because of a little bit of length around the second third of the scenario, but it's right after that. Moving, calling for personal and community reflection, with careful aesthetics and carried out with kindness.

I was certain that this is going to be a quality film, but not sure how I am going to react to it. From one side we have Pedro Almodóvar, that is directing. We all know his qualities, but fear the complexities, that his films are hiding inside and not always are easy to digest.

From the actors' side we've got Tilda Swinton, Julianne Moore and John Turturro. The plot is heavyweight and as Almodóvar likes always to discuss - death is one big part in the plot of his new movie. Death is the main theme, but life and the way to wrap death from different directions, when you already know it is arriving, is one big aspect in Almodóvar's current movie.

This movie not only wraps the main death and life theme, but touches all other elements that are affected by it. Almodóvar is talking about how completing with the concept of dying is affecting the surrounding, and in this movie in particular about one close friend and estranged family member.

The thing that bothered me the most in this movie, that it was pretty dull, though it had a lot of fine elements. The director and actors did their job with describing the final days in one's dying woman's life. The conversations where deep, the conclusions are wide, but somewhere this movie felt like watching paint peel or flower grow.

Slow burner almost doesn't describe well what we've watched in this one. It wasn't that long, but if felt endless. You can go to sleep in the middle, wake up and still miss several conversations that didn't impact the course of the movie. For this movie, it is better to lower the expectations from one - Almodóvar and try to get into it, when you are totally ready.

Story could be good. But something is totally wrong with the way the movies sounds in terms of dialogues. Feels like someone took a proper film and cut it badly having to leave only 'essential' phrases. Most often scenes do not have that entry that makes culmination feasible and striking. Instead, each scene seems to be cut just to its major message.

Dialogues thus feel sour, sometimes smelling like clichés. What could have been powerful moments, just browsed through like a deck of cards. Talents of actresses do not save them.

Sometimes it felt like the script was written in another language and then translated.

Right ingredients. But bad tasting dish, regretfully.

And when I say boring movie, I mean it by giving only 1 star! It is not logical when some viewers say "what a boring film" and they evaluate it with 7/10! It makes no sense! So, we have 2 actresses in the main roles (I never understand why Tilda Swinton makes so much noice- she is overrated) with probles of solidarity. They are depressed (the one with serious base) and we watch for about 100 minutes something absurd. Ok, good director (I am not so sure...) but a movie for a good topic needs a different approach. It is not even deep. Just beautiful images and a huge amount of cliches! I felt deppressed not because of the topic of euthanasia but due to the shallowness of everybody involved in this film. Next, please!

This film is a heartfelt, charming meditation of female friendship, and, to a greater extent, coming to grips with grief, both antecedently and subsequently.

The acting and chemistry between the two central characters serves as the heart of the film. Tilda Swinton and Julianne Moore turn in subtle, yet great performances. They indeed feel like actual friends who've known one another for years; their performance are organic. The writing is also great in that while the dialogue is quite expository, and from time to time can even feel a bit prolix, overall the pacing is quite good. Things move along nicely. The cinematography and costumes also really elevates the film; everything looks chic, lush, and pleasingly vibrant, which serves as a nice contrast to the rather bleak subject matter at hand.

The only real quibble here is the ending. The film could've easily ended about 20 mins before it actually did. If you see the film, you'll understand what I mean, but the ending feels rather tacked-on and almost felt like a different film. It just didn't really meld that well with what came before it. And it's for that reason that I have reluctance in deeming this film a masterpiece.

This is quite a nice little film, touching and moving, with great acting, but it has its issues. That being said, the film is worth seeing. It's a beautiful, intimate exploration of the human condition.

There is something special in thematically exploring death, a dreadful and concerning idea for those who cannot conciliate their present situation as living beings with the idea of their life coming to an end. An idea that sooner or later, as finite beings, will become a reality and will find us unprepared, although little will matter after it because we will no longer be here to experience it. Pedro Almodóvar first film in English follows Ingrid (Julianne Moore) and Martha (Tilda Swinton), two writers whose friendship dates many decades since they were young and now a strange situation reunites them again like never before. A situation that will make their relationship stronger but also question their beliefs about life and death.

Directed by Pedro Almodóvar and co-written with Sigrid Nunez, The Room Next Door is based on the novel by Nunez, What Are You Going Through, from 2020 in which a woman helps her terminally ill friend to end her life by accompanying her in her last days. This is a movie that could be seen as a synthesis of Almodóvar's oeuvre given how many elements in it resemble different movies of him. It gives Almodóvar the possibility to explore the fear of death, his love for movies, and partying.

The story is honest in its aim and simple in its form, but thematically long-reaching. Ingrid is a renowned author that by a chance encounter in one of her signing events is told a friend of her has cancer. This leads her to reconnect with Martha after many years of not seeing each other. Martha, like Ingrid, is a writer, but while Ingrid writes fiction, Martha is a war correspondent for the New York Times. Almodóvar's lyricism traces symmetries with past and present in the lives of the two friends but also with many world-known authors like Virginia Woolf, William Faulkner, creating a constant back and forth that seamlessly weaves its continuity. It does not take long for Martha to tell her friend her prospects with cancer. The disease that is consuming her without any reasonable hope other than to prolong her days since it is inoperable.

Fear of death is explored in such a profound way that, even if you are not in Martha's situation, it is easy to find oneself not only emphasizing with her but also ruminating about the subject in many different ways. At its core, dying with dignity is what interests the story to illustrate. This is examined in Martha's experience, for instance, with the cancer community that feels like the best battle against the disease is to never lose hope, something Swinton's character sees as wrong since she considers that said war can be won by dying on her own terms without letting cancer reach her. It is also interesting how, besides the physical manifestation of the disease taking more power over the body, the process is experienced in terms of identity and psychology. According to Martha, her head is spinning, and she is losing enjoyment of what previously made her happy, like listening to music, reading, etc. The narrowing of interests is not exclusive to her because other character also experiences this as he grew older. Damian (John Turturro) is someone who connects Ingrid and Martha by having dated each of them. He is convinced climate change will be the doom of the world, and the lack of attention to it by both politicians and society is alarming, to say the least. By incorporating Damian, Almodóvar changes, if only momentarily, the thematic axis of the film and introduces us to another very contemporary political issue. His dexterity in doing so is such that it never feels like a departure but rather a further exploration of the microcosm he created. One where politics is equally important to the story itself.

Nothing more I can really say about this other than it was ok. The mundane of the film is lifted slightly by the true acting talent of Julianne Moore and Tilda Swinton, but this movie was met to entertain a certain demographic that i don't fit into.

If any of you remember those coffee commercials in the early 90s with the two white women reminiscing over decaf than you realize this movie is a 90 min version of that down to John Turturro as their "Jean Luc". Low key expected the movie to end with someone singing "Celebrate the moments of your life". It felt like those two women 30 years later grew into Moore and Swinton

That may seem harsh based on the topic of the movie, but the topic does not make the movie. Not to say it was bad to sit through, but it was average in the movie spectrum.

'The Room Next Door (2024)' is Pedro Almodóvar's first English-language feature. Starring Tilda Swinton and Julianne Moore, the film basically touches on what it's like to live when you know you're going to die (something that we all have to grapple with, whether we realise it or not). There's a poignant line that goes something like "there are lots of ways to live inside a tragedy", and that basically sums up the point of the picture: even though all of our lives must end, that doesn't mean we can't live them with hope and purpose and joy. Although it meanders around while it gets to that point, it doesn't necessarily waste any screen time. Its various plot threads and seemingly inconsequential scenes all actually build towards its main message, and the more obviously important stuff is used to build the relationship of the two characters at its core. Even though it is touching at times, a lot of it is a little dry. Most of the movie consists of conversations in which people straight-up tell someone else how they feel, which can sometimes feel a little clunky. A lot of it is typical Spanish melodrama but acted in English, which can lead to a sort of off-kilter vibe to some of the dialogue. It's also a lot less vibrant than your usual Almodóvar picture, even though it's shot nicely and has a notable personality. What keeps even its driest segments completely watchable is the strength of its performers, all of whom bring an understated charm to their roles. This definitely isn't any of their best work, but it's often keenly observed and constantly engaging. Ultimately, although it's definitely middling Almodóvar, the piece is entertaining and affecting enough to keep you watching from beginning to end. It's never exactly what you think it might be, and it does have well-defined themes that are conveyed in a realistic way. It's not massively moving and it does have its duller segments, but it's a decent effort nevertheless.

Almodovar has done it again. He is a genius at tackling sensitive topics that people struggle to talk about. Mostly taboo subjects that he covers in his films in a subtle way without it being offensive. He's a master at it really. His films always become something you talk about and discuss afterwards. I've been following Almodovar since his beginnings as a director and am completely enthralled every time I see his films. He was smart who took control of his works and started his own film company. The fact that this time he is making a film in English for the first time is not disturbing at all. Almodovar's essence remains in every frame of the film and is so wonderful. This movie is as brilliant as usual. I am just happy and can't say more than you must watch this movie and just enjoy every frame of this movie. Pure joy. ENJOY.

To live or to die is a decision many of us are probably reluctant to address. The fear of this great unknown is enough to keep the notion at bay. But what if we were to find ourselves dealing with a terminal illness with little hope for the future? Would we be willing to nobly soldier on, knowing that our circumstances are only going to get worse, or would we choose to transition to what's next on our own time and under our own terms? Such is the scenario involving two old friends, Martha (Tilda Swinton), a former war correspondent who has lived a rich, full life but is now afflicted with terminal cancer, and Ingrid (Julianne Moore), a successful author who recently penned a book detailing her personal fear of death. When Martha's condition takes a turn for the worse and her joy of living rapidly begins vanishing, she decides she wants to pass on before she significantly deteriorates. She willfully chooses to die with dignity in a comfortable and beautiful setting of her choosing. But she doesn't want to be alone when the time comes: She wants to be in the presence of a compassionate soul in those final moments, someone not to act as a facilitator but who can provide company, comfort and support "in the room next door" as she slips away. And so it's indeed ironic when Martha asks Ingrid to be that person. It's a proposal about which Ingrid has serious reservations, but she also recognizes that she can't in all good conscience turn her back on a friend. These circumstances also provide her with an opportunity to face firsthand the fears she's just written about. But, those well-intentioned considerations aside, how will matters unfold for all concerned when events are no longer theoretical and turn real? That's what writer-director Pedro Almódovar explores in his latest feature offering, providing viewers with a thoughtful, profound yet practical and eminently moving take on a controversial subject, one that's been surfacing more candidly and more frequently in public discourse than it once did and that carries myriad ramifications ethically, emotionally and legally. While the film periodically veers off onto somewhat unrelated narrative tangents and occasionally becomes a little too talky for its own good (qualities that often encroach upon Almódovar's works), this is arguably one of the filmmaker's finest efforts both in terms of the sensitivity employed in the treatment of its subject, as well as in raising questions about the validity and propriety of right to die matters. It's particularly noteworthy for the superb performances of its two principals, both of whom turn in some of the best work of their careers, as evidenced by Swinton's Golden Globe Award nomination for best lead actress in a drama. It's long been believed that none of us will know the time when we'll pass, that it's something left up to fate. But must it be that way, especially if we deliberately put our minds to our circumstances? "The Room Next Door" gives us much to ponder in this regard, showing us how leaving matters to chance ultimately might not be the wisest or most fulfilling course for all of us to follow.

Despite its serious theme (Euthanasia) the film is supremely boring, disconnected and not emotionally involving at all. I wonder how it could win the Golden Lion at Venice Film Festival. The interconnected stories just don't make any sense (see the gay Carmelite friars interpolation). The character played by Turturro is flat and uninteresting. The script sounds like political propaganda and it doesn't come from the heart. Come on Pedro, you can do better than this... I'm not absolutely sure that Tilda Swinton was the best choice for this role but since The Human Voice she seems to feature in all of Almodovar's English language mpvies. There have been many films made on euthanasia (such as Amenabar's "Mar Adentro") that are certainly better worthy of notice than this frankly mediocre sample.

Pedro Almodóvar is fantastic at crafting stories and fleshing out characters, but this time he seemed to lose his way a bit halfway through. He did manage to get back on track later, but something felt a little off! Almodóvar attempted to mix European vibes with a hint of Americana, and surprisingly, he ventured into political territory. He tackled themes like climate change and far-right ideologies to illustrate a world spiraling out of control... maybe he got a bit caught up in the "woke" movement. Still, it was enough to snag the Golden Lion in Venice.

The story unfolds in New York City, where war reporter Martha (Tilda Swinton) reconnects with her estranged friend and novelist Ingrid (Julianne Moore) in Martha's hospital room. As Martha fights late-stage cervical cancer, Ingrid does her best to be there for her. After several unsuccessful treatments, Martha asks Ingrid to join her at a villa upstate, where she plans to take euthanasia pills to end her life.

Swinton and Moore give heartfelt and thoughtful performances as two women who slowly create a safe space for each other. Unlike Almodóvar's 2019 film Pain and Glory, which delves into the darker aspects of illness, Martha and Ingrid find solace in facing their fears about death together. The Room Next Door feels lighter and more open, showcasing the director's shift away from his previous focus on suffering.

This film is classic Almodóvar melodrama, filled with beautifully poetic dialogues, diverse artistic expressions, and subtle political commentary... though it does have its misses.