As a seasoned cinephile who has witnessed countless celluloid deaths, I must confess that Pedro Almodóvar’s “The Room Next Door” stands out as a unique and poignant exploration of mortality. The film is not just a two-hander between Julianne Moore’s Ingrid and Tilda Swinton‘s Martha; it’s a heartrending dialogue between life and death, beautifully captured in the lyrical language that Almodóvar is known for.
Movies regularly feature characters meeting their end. Whether you’re engrossed in a tense action film, a heart-wrenching drama like “Steel Magnolias,” or contemplative works by Ingmar Bergman, it can be said that movies, as a whole, serve as a preparatory stage for death. However, films that tackle death head-on, that confront it fearlessly, and challenge us to grapple with its harsh truths are not common. Pedro Almodóvar’s poignant and thought-provoking film “The Room Next Door” is one such exception.
The film follows a straightforward structure, focusing on two elderly friends, Ingrid (portrayed by Julianne Moore) from New York City’s art scene and Martha (Tilda Swinton), a former world traveler who reported for the New York Times. Their lives have gone separate ways until Ingrid discovers that Martha is hospitalized due to advanced cervical cancer, now in stage three. She’s undergoing an experimental immunotherapy treatment, which offers only a slim chance of survival.
In this particular scenario, some individuals might opt to suppress their emotions, but Martha stands out as someone who doesn’t. Aware of her impending mortality, she is candid, straightforward, and contemplative about it. However, this doesn’t imply that the situation is effortless for her. It’s clear from the movie that Martha and Ingrid share a deep bond – a connection that has endured even after brief catch-ups. The film primarily revolves around these two characters, featuring a sequence of dialogues between them that feel like they could be staged in a theater. Although there are other characters introduced (such as the man they both dated and a character played by John Turturro who predicts climate change), the narrative is essentially centered on these two women and their conversation-filled encounters.
In his first English-language film, Almodóvar has crafted “The Room Next Door” based on Sigrid Nunez’s 2020 novel, “What Are You Going Through.” Unlike an Almodóvar soap opera, it’s not that, but it retains his affinity for expressive dialogue and dramatic events, as well as the open display of vivid emotions. The characters in this film openly disclose their identities, baring themselves to the audience. Initially, Martha narrates her journey that led to her estrangement from her daughter, Michelle, whom she had raised as a single mother during her youth. This poignant flashback, set against the backdrop of the Vietnam era, serves as a self-contained mini-movie.
Titled “The Room Next Door,” this film is vividly captured by Eduard Grau, particularly when the characters transition to a sleek modern rental vacation home, nestled in the picturesque countryside beyond Woodstock, NY. Primarily, it’s a story that revolves around Martha and Ingrid discussing mortality, with Martha ultimately finding a resolution regarding her impending demise. Despite her unwavering desire for life, she has grown weary of battling the dread of her own mortality.
Tilda Swinton has always had a face so distinctive — pale and severe, expressive in a way that’s almost translucent, with that aura she conjures of looking like the aristocratic elfin alien sibling of David Bowie — that we feel as if we know that face like our own. In “The Room Next Door,” Swinton’s face, along with her words, becomes an awesome instrument of inquiry. She gives a monumental performance, one that in its raw emotion, its pensive power, is worthy of comparison to the spirit and virtuosity of Vanessa Redgrave. She makes Martha a grounded woman who knows herself, and knows what she wants, but has landed in uncharted territory. She’s not prepared for this. Who is, really? But she’s going to take the journey and take us with her.
In a moment of self-realization, I find myself yearning for the power to shape my own fate. I choose to take charge, deciding when it’s time for me to depart from this world. “The Room Next Door” isn’t just about an ‘issue’; it’s a subtle yet profound exploration of the emotional torrent that surges when one contemplates ending their life.
At 74 years old, Pedro Almodóvar isn’t a pessimistic Spaniard, but his films have grown increasingly preoccupied with mortality. Consequently, much of the humor in them has been replaced by somber undertones. However, I would contend that this doesn’t make him a gloomy artist. “The Room Next Door,” propelled by Swinton’s intense portrayal, uplifts and provides a sense of release. Despite its focus on death, the film, through its unflinching approach to the topic, is a passionate advocate for life.
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2024-09-02 20:46