The Room Next Door (2024)

Pedro Almodóvar’s The Room Next Door is his first English-language movie, but unfortunately, he doesn’t achieve his usual high standards. The story is about Ingrid (Julianne Moore), who is a successful writer, and Martha (Tilda Swinton), who is a former war correspondent facing terminal cancer. Martha invites Ingrid to go with her to a remote cabin so she can control the way she wants to die. It’s a great premise with lots of potential, but the story, as a whole, just doesn’t resonate like it should.

The visual flair that Almodóvar is known for is there, as is Eduard Grau’s cinematography, which draws on the style of Edward Hopper and Andy Warhol’s art. Colours play a symbolic role in The Room Next Door. One obvious example is the shift that takes place from Swinton’s vibrant acid-yellow suit to a sombre green that mirrors the journey she experiences from vitality to grief.

Moore and Swinton put in strong performances. But they are limited by a script that feels stilted and unnatural. And John Turturro, who plays their shared ex, brings some gravity when he comments on the consequences of climate change in one of his conversations. But he is underutilised. The dialogue between the characters often feels forced and undermines the emotional impact of their interactions.

The pacing also drags. It takes ages before the narrative arrives at the main issue at the heart of the story. The philosophical conversations don’t flow, and the symbolism is so obvious that it overshadows what should have been moments of genuine insight. The themes are heavy ones and important—mortality, friendship, and voluntary assisted dying. They are sincerely approached, but themes and issues like The Room Next Door explores need to be addressed with subtlety and nuance. More often than not, the story feels more like a lecture.

Still, the production design is stunning. The stark, angular cabin beautifully reflects the emotional complexities of the dynamic between Ingrid and Martha. Alberto Iglesias’s music is suitably melancholic and generally enriches what’s happening on screen. But sometimes it overpowers the action, seeming to tell us what to feel rather than leaving it to the story itself.

Although The Room Next Door isn’t entirely unsuccessful, if you are a fan of the director or Moore and Swinton, you may find it worth checking out. But if you are a casual viewer, you might leave the cinema disappointed. The film is a visually striking, well-meaning exploration of significant topics, but it could have been much more impactful than it was.