Exuding some of Pedro Almodóvar’s most unmistakable aesthetics, the film is beautifully shot with a strong colour palette across its set and wardrobe to uplift an otherwise bleak and melancholy storyline. Whilst, The Room Next Door doesn’t wholly follow in the footsteps of the director’s highly theatrical melodramas, its desire to break boundaries and create conversation around contentious topics remains inherent.
Julianne Moore plays Ingrid, a successful author who discovers an old colleague and friend, Martha, played by Tilda Swinton, has been diagnosed with stage four cervical cancer. After years of little communication, Ingrid reaches out to Martha, resulting in a series of hospital visits reminiscing on the past, gossiping over shared lovers, and recalling many a memory as young professional writers in New York City. In the face of death's looming presence, the two rekindle their friendship and enjoy one another’s company inside and outside the ward.
Moore and Swinton’s performances are naturally outstanding
Desperate to take control of a situation in which she bares little, Martha rallies up the courage to ask Ingrid for her help in a plan; a month-long trip out of the city in costly, but relaxing rented home. There, they agree to soak up the peaceful surrounding nature and a slower pace of life until Martha ultimately decides to self-euthanise during the night with a pill she bought on the ‘dark web’. Their agreement outlines that Ingrid will only know of Martha’s passing the morning after, when she finds the door to ‘the room next door’ is shut. She is also sworn to never reveal details of Martha’s decision to the police, so as not to implicate herself in the ‘crime’.
As the pair endure highs and lows throughout their stay, Moore and Swinton’s performances are naturally outstanding. Admittedly, I found the script made the first few scenes feel slightly robotic and awkward in places. However, in retrospect I suppose it demonstrates the characters’ development as individuals and confidants in such a secretive contract.
Moore is attentive and quietly optimistic throughout; qualities which are emphasised through the warm, mellow burgundies and forest greens in her clothes. Swinton on the other hand, expertly delivers a performance which grapples with the cruel duality of Martha’s circumstances. Although her body must physically surrender to terminal cancer, her mental assuredness is sharper than ever, steadfast in her decision to end her own suffering.
Almodóvar has admitted that Swinton’s physique lends itself well to the character’s deteriorating health, but I’d also say that the wardrobe once again held great power in conveying her illness. In the beginning, she is presented as someone who wears and models their home on a strikingly cool and vivid colour scheme boasting blues, pinks, and yellows. Yet as her condition worsens, these colours gradually lose their saturation, becoming delicate pastels or even sheet white.
The Room Next Door is a cinematic masterpiece which happily confronts the long-tabooed topic of death
Having previously studied Almodóvar’s films, I am somewhat wired to visually analyse his use of colour as a symbolic tool of expression. But for those who are less familiar with his work, the prismatic aesthetic instantly elevates the film regardless, providing relief where needed to alleviate viewer’s discomfort during challenging scenes.
The script goes beyond the hardships of one person, as it brings to light the interfering forces at odds with euthanasia nowadays. The police as an institution highlight the self-righteous judgement and meddling that law and religion can cause for those seeking to die a dignified death. Whereas, secondary discussions on climate change and the dangerously accessible nature of the web also imply the world is ill as a whole. Whilst terminal patients are largely refused the right to determine their fate, modern society continues to pump out carbon dioxide and destroy rainforests, knowing full well that it’ll lead to the extinction of species and contribute to an inhospitable climate for future generations to come.
Overall, The Room Next Door is a cinematic masterpiece which happily confronts the long-tabooed topic of death. Phrases like “it’s your choice”, and “it’s up to you” echo throughout the narrative, empowering the concept of euthanasia. Almodóvar’s creativity through colour and calculated cinematography provide a welcoming setting for us to come to terms with our own mortality.
Be it a rather frank and loaded storyline for his 1st English feature and 24th film, I would highly recommend the watch, regardless of your personal beliefs. Perhaps your views will change as Moore’s character’s does, perhaps they don’t. But what I can guarantee is that if this is your first encounter with Almodóvar, you’ll be left wanting to uncover his repertoire of legendary work soon after!
