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 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.

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.

The Room Next Door feels like Pedro Almodóvar stepping into uncharted territory. It's his first English-language film, and while it's undeniably beautiful, it left me wishing for a bit more substance beneath the surface. The story focuses on Martha, a war photographer facing terminal cancer, and Ingrid, a novelist whose friendship with Martha has grown distant. Almodóvar brings his signature style-bold colors, symbolic spaces, and carefully crafted visuals-but somehow, the emotional depth he's known for doesn't quite land.

Color plays a huge role here, especially red. Almodóvar uses it as a recurring theme-it's in Martha's outfits, Ingrid's scattered notes, and the carefully chosen decor of the house where most of the story unfolds. Normally, his use of red bursts with life and passion (Volver, anyone?), but here it feels muted. Instead of adding emotional weight to Martha's struggles with agency and mortality, it seems more decorative than symbolic, like it's there to remind us we're watching an Almodóvar film but not much else.

The house, though, is stunning. It's this sleek, modernist marvel of icy blues and greys, with pops of red, yellow, and green breaking through the sterile perfection. It's a powerful metaphor for Martha and Ingrid's fragile connection-a place that feels both protective and isolating. But as much as I loved how the house looked, I kept waiting for it to feel like a real part of the story. It's a backdrop with so much potential, but its symbolism doesn't dig deep enough to make the emotional stakes feel real.

Tilda Swinton and Julianne Moore are, unsurprisingly, excellent. Swinton gives Martha a quiet fierceness, and Moore portrays Ingrid with a mix of regret and tenderness. But the dialogue between them sometimes falls flat-it's too heavy on exposition and not raw enough to pull you in. Their interactions often feel more like scripted exchanges than heartfelt conversations, which makes it harder to connect with their journey.

Ultimately, The Room Next Door is a feast for the eyes, but its heart doesn't quite match its visual brilliance. It's beautiful, yes, but it feels like it's searching for the emotional depth that made Almodóvar's earlier films so unforgettable. I respect the ambition, but as the credits rolled, I couldn't help but miss the vibrant storytelling of his past works.

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Pedro Almodóvar once again takes us to a slightly surreal visual journey with many trusted tropes we all have gotten used to.

What I ended up wanting was that this film was perhaps in Spanish as the dialogue in English seemed stunted and unnatural.

I didn't end up believing the characters and somehow there was not much chemistry between anyone really.

Some scenes felt unnecessary as they didn't drive the story in any way or add any depth to already quite thin characters.

Both leads are oozing charisma but that wasn't enough to take it to the next level.

I recommend this film if you need any tips for decorating and/or colour schemes.

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.

This well-crafted film has a lot of potential, but it remains mostly unfulfilled. A chance encounter between old friends results in Tildo Swing's character asking Juliana Moore to provide companionship during the time when she decides to end her life after her cancer is in its final stages. The dynamic between the war correspondent now facing death, the author who's scared of death now faced with accompanying her friend, and the climate change activist who faces down mass extinction who has to guide his friends through a most personal death without the police getting suspicious. Yet the conflicted feelings and ethical dilemmas are largely ignored. The dialogue is forced and surface-level. And all of the characters simply play out their parts. The movie isn't bad. But Aldomovar just doesn't seem to have anything to say, and there is little in the way of emotional or intellectual struggle. Yes, Swindon and Moore give fine performances, but without much material to work with, the movie falls flat by the end.

"The Room Next Door" starts with an interesting premise, but that's about the only positive thing that can be said about this limp, uninspired film. Almodóvar, once a master of emotional complexity and vivid storytelling, seems to have forgotten how to make a film that feels authentic or engaging. What could have been an exploration of human vulnerability and intimacy quickly devolves into a predictable, first-degree melodrama that leans far too heavily on tired clichés.

The central theme, though intriguing, is handled with such a lack of subtlety and depth that it never feels fresh or compelling. Instead of delving into complex emotional landscapes, the story relies on formulaic twists and a shallow treatment of its characters. We know exactly where it's going from the moment it starts, and by the time it gets there, it feels like an effort in futility. The so-called "twists" are more like tired plot devices pulled from a drawer of clichés, and the dramatic moments fall flat-because there's no real buildup, no real emotional stakes.

But it's the acting that truly sinks the film. Honestly, this is some of the worst acting I've seen in recent memory. The performances are so wooden and unconvincing that they seem more like an amateur theater production than a feature film. The actors seem lost, unsure of their characters' motivations, or perhaps they were just given the worst material to work with. Not a single performance feels genuine or emotionally grounded. There's no chemistry between the leads, no spark or tension, just an endless parade of awkward pauses and stilted line deliveries that undermine any attempt at sincerity.

Almodóvar, who has worked with incredible talent in the past, seems to have failed in drawing out anything remotely memorable or engaging from his cast here. The characters speak in overly dramatized lines, each one more forced than the last, without any of the wit or insight that Almodóvar's best films are known for. Instead of feeling like real people with real struggles, they feel like poorly-written caricatures in a film that doesn't seem to care enough to let them develop.

Visually, "The Room Next Door" might try to evoke Almodóvar's signature style-colorful sets, meticulously designed costumes, and a sense of theatricality-but it all falls flat. The visual flair that once enhanced his characters and themes now feels superficial and out of place. The scenes feel more like artifice than artistry, and the bold color schemes and set designs end up being distractions rather than emotional tools.

In short, "The Room Next Door" is a massive disappointment. Despite its interesting theme, it never rises above first-degree melodrama, relying too much on clichés and the kind of tired tropes that Almodóvar used to subvert with such brilliance. The acting is dreadful, the dialogue is cringe-worthy, and the story is as predictable as it is forgettable. Almodóvar's charm and depth are nowhere to be found in this hollow, lazy attempt to recapture the magic of his earlier films. Fans hoping for another "Talk to Her" or "All About My Mother" will be sorely let down. This film is a textbook example of how even the most interesting concepts can be ruined by poor execution.

I kind of get those people who were disappointed by this. It doesn't work, the beginning feels kind of fake, and I did think that this would've maybe worked in Spanish, but it doesn't translate well at all into English. There's so much exposition in the dialogues between the two leads, clearly meant to give us all the background, but it sounds so unnatural it is a little disappointing. And I think I have seen exposition like this in his Spanish language movies and it didn't bother me at all, but in English it's all so rooted in reality that it feels fake to do that. It got better and better after that. After all, let's face it, we're all watching this for Tilda and Julianne and they are glorious. Tilda even sports some crazy fashions in this. Well, not crazy, just colorful and atypically shaped, but she wears it so well. Her death attire, complete with deep red lipstick. I mean, the whole things looks gorgeous. That house is from a magazine. Even New York looks gorgeous. Just vibes you know. I mean we know where it's going and there's absolutely no surprise about the ending, it's all in the presentation isn't it? Actually it might be Almodovar's least imaginative script ever, it's so basic, it's essentially a medium for two brilliant cult actresses to show off. It could be what he wanted himself, maybe. To work with them. I mean the story is nothing new, we have seen it before countless times. Maybe not in this color palette and that's our gain here.