The Room Next Door Review 2024

Many of us want to think of ourselves as close friends, always willing to go out for coffee, have dinner together, or send supportive notes when necessary. In times of loss, some people may even go above and beyond by providing meals or assisting a friend with moving. However, “The Room Next Door,” Pedro Almodóvar’s English-language debut, makes us think about how far we would really go for a friend in need.

After discovering her friend Martha (Tilda Swinton) has cancer, author Ingrid (Julianne Moore) reaches out to her again in this heartbreaking drama. The two women, who were once inseparable, soon revert to their previous routine. In between treatments, Martha tells Ingrid about her life, including her adventures as a war reporter, her troubles with her distant daughter Michelle, and the death of her high school sweetheart Fred. Martha makes the decision to terminate her life on her own terms after learning that her illness is incurable, stating, “Cancer can’t get me if I get me first.” Ingrid’s loyalty is put to the test by this choice, which compels her to face her own anxieties and assist Martha in making the most of her remaining days.

“The Room Next Door,” which is based on Sigrid Nunez’s book “What Are You Going Through,” is a moving examination of mortality and friendship. As the surrogate for the audience, Moore gives a moving performance as Ingrid. Despite her own inadequacies and dread of dying, she manages the unachievable task of helping her buddy with compassion and grace. Although it may seem that Ingrid is being too accommodating, her actions are motivated by genuine affection and a desire to make Martha feel better. Conversely, Swinton delivers a powerful yet restrained performance, playing Martha with a stoicism that periodically gives way to unbridled vulnerability. The calm exterior of her character breaks just enough to see her compassion.

“The Room Next Door” feels more muted than Almodóvar’s previous films, such as “Tie Me Up! Tie Me Down!,” “Women on the Verge of a Nervous Breakdown,” and “Talk to Her,” even if his return to feature filmmaking comes after the two shorts “The Human Voice” and “Strange Way of Life.” Even his more subdued pictures, like “Pain and Glory” and “Parallel Mothers,” delve deeper into complicated emotional issues than this most recent work. Even with its weighty issues, the movie feels constrained at times, revealing certain emotional depths that aren’t fully explored.

Almodóvar’s visual storytelling is still powerful, nevertheless. Renowned for his vibrant use of color, he once again exhibits compositional and palette expertise. Bright, striking colors were used in movies like “All About My Mother,” and “The Room Next Door” is no exception. Red and green hues that contrast draw attention to Ingrid and Martha’s contrasts. Martha’s elegant, green-tinged home with a balcony garden stands in stark contrast to Ingrid’s cool blue apartment, which is filled with quirky things. Moore’s striking hair and bright red lipstick blend well with the costumes and set design, contributing to the visual story. Each frame exudes a sense of careful craftsmanship and reflects Almodóvar’s distinctive aesthetic.

“The Room Next Door” explores friendship, loss, and mortality in a subdued yet poignant way. Viewers are prompted by the story to consider their ability to support loved ones during the most trying times in life. The story is further complicated by a subplot featuring Damian (John Turturro), Ingrid and Martha’s ex-boyfriend. Damian supports Ingrid, but he also expresses his pessimism about the future of the planet. Pushing back, Ingrid emphasizes the value of clinging to hope and enjoying life.

The film’s ending serves as a poignant reminder of how fleeting life is. It reflects the idea of valuing deep relationships and supporting the people we care about, especially during their most trying times. In the end, life is about the moments we cherish and the ways we help those who are most important, to paraphrase Frank Sinatra.