The Room Next Door (2024) is Pedro Almodóvar’s English-language feature debut, a tender yet haunting adaptation of Sigrid Nunez’s novel What Are You Going Through. The film follows Martha (Tilda Swinton), a war correspondent grappling with terminal cervical cancer. Facing her final days, she reconnects with Ingrid (Julianne Moore), an estranged friend and former colleague. Martha makes an extraordinary request: for Ingrid to accompany her during her last moments at a secluded retreat where she plans to take her own life. The film explores the fragility of life, the complexities of friendship, and the dignity of choice. Through quiet conversations, shared memories, and moments of levity, the two women rediscover a bond that transcends time and distance. Almodóvar’s signature vibrant visuals and nuanced storytelling create a moving meditation on mortality, human connection, and the emotional landscapes we navigate in our final days.
Pedro Almodóvar’s English-language feature debut, The Room Next Door, is an evocative meditation on life, death, and the unexpected bonds that emerge during life’s most vulnerable moments. Adapted from Sigrid Nunez’s novel What Are You Going Through, the film offers a subdued yet deeply human narrative, anchored by powerhouse performances from Tilda Swinton and Julianne Moore. The movie is both a continuation of Almodóvar’s introspective storytelling and a subtle departure as he navigates English dialogue and American settings for the first time.
The story centers on Martha (Swinton), a former journalist and war correspondent grappling with terminal cervical cancer. Faced with a grim prognosis and estranged from her family, Martha turns to an unexpected ally: Ingrid (Moore), a former colleague she hasn’t seen in years. Their shared history is complicated by a mutual ex, but despite the emotional distance, Martha asks Ingrid to accompany her in her final days.
The request? To be present in “the room next door” while Martha takes a lethal dose of medication she has obtained online. Though initially reluctant, Ingrid agrees, and the two set off to an idyllic countryside retreat where they confront their pasts, bond over shared experiences, and prepare for Martha’s farewell.
Swinton and Moore deliver deeply nuanced performances, embodying characters shaped by loneliness and longing yet tempered by resilience. Swinton’s portrayal of Martha is achingly real—a woman both dignified and vulnerable as she faces her mortality with quiet determination. She conveys the fragility of someone preparing for death but also the strength of someone choosing to dictate the terms of their departure.
Moore, as Ingrid, balances empathy and detachment with finesse. Her character is haunted by regrets and the weight of her own fears around mortality, yet she exudes warmth in her interactions with Martha. Together, their chemistry creates a poignant emotional core that drives the film.
John Turturro makes a notable appearance as Ingrid’s ex, Damian, a character who provides glimpses into the personal histories that shaped the women’s current lives. Alessandro Nivola steals the spotlight in a gripping cameo as a policeman whose tense interrogation adds an unexpected layer of suspense.
True to Almodóvar’s signature style, The Room Next Door is a visually stunning film. The cinematography by Edu Grau frames every scene with precision, using color and light to evoke both the intimacy and isolation of the characters. The lush countryside retreat where much of the film takes place is bathed in rich hues of red, symbolizing both life and its inevitable end.
The narrative’s simplicity is deceptive. While the story appears straightforward, Almodóvar uses flashbacks and secondary storylines to add texture. One of the film’s most impactful sequences delves into Martha’s late ex-husband Fred (played by Alex Høgh Andersen), a Vietnam veteran whose traumatic experiences are recounted by his second wife (Victoria Luengo). This flashback, interwoven with Hitchcockian tension and Alberto Iglesias’s haunting score, is among the film’s standout moments.
However, Almodóvar’s shift to English has drawn mixed reactions. While some critics have praised his ability to adapt his deeply personal style, others argue that the language barrier occasionally diminishes the film’s emotional resonance. Nevertheless, his exploration of universal themes like mortality and friendship remains as impactful as ever.
At its core, The Room Next Door is an exploration of mortality. The film doesn’t shy away from the complexities of death but instead approaches the subject with a quiet, contemplative tone. Martha’s decision to end her life on her own terms is presented without judgment, allowing viewers to grapple with their own feelings about assisted dying.
The film also examines the fragility of human connection. Ingrid and Martha are not close friends—they’re estranged colleagues whose paths diverged long ago. Yet, in their shared vulnerability, they find a bond that transcends years of separation. Their friendship becomes a vessel for exploring themes of forgiveness, intimacy, and the need for companionship in life’s final moments.
Almodóvar infuses the narrative with small but meaningful touches of humor and tenderness. Whether it’s Martha and Ingrid bonding over old Buster Keaton films or Ingrid’s candid conversations with her personal trainer, these moments of levity prevent the film from feeling overly somber.
While the film has been widely praised, it’s not without its flaws. Some critics have noted that the pacing can feel sluggish, particularly in the opening act. Flashbacks, while evocative, occasionally disrupt the film’s narrative flow, and certain choices—like casting Swinton as both Martha and her estranged daughter—have been met with mixed reactions.
The film’s handling of assisted suicide has also been critiqued for its lack of depth. While Martha’s decision is central to the plot, the ethical and emotional complexities of the topic are largely unexplored. Instead, the focus remains on the relationship between the two women, which, while compelling, leaves some thematic avenues underdeveloped.
Since its premiere at the Venice Film Festival, where it won the prestigious Golden Lion, The Room Next Door has garnered widespread attention. Critics have lauded the film’s performances and visual artistry, with Tilda Swinton receiving particular acclaim for her portrayal of Martha.
On Rotten Tomatoes, the film holds an 88% rating, with critics praising its emotional depth and lush aesthetic. Stephanie Zacharek of Time described the film as “joyful, despite its subject matter,” while Peter Bradshaw of The Guardian called it “extravagant and engrossing.” However, some critics, like Robbie Collin of The Telegraph, have found the film “thin” compared to Almodóvar’s previous works.
For those eager to experience The Room Next Door, here’s where you can watch:
The Room Next Door is a contemplative, visually striking film that balances beauty and sorrow with a delicate hand. While it may not rank among Pedro Almodóvar’s most groundbreaking works, it is a testament to his ability to craft deeply human stories with universal resonance. Swinton and Moore’s performances are magnetic, bringing life to a narrative that lingers long after the final frame.
Whether you’re drawn to the film’s themes of mortality, its breathtaking visuals, or simply the chance to see two acting legends on screen, The Room Next Door is well worth your time. Stay tuned to Woke Waves Magazine for more insights into cinema’s latest gems.