The Room Next Door

Pedro Almodóvar’s “The Room Next Door” (2024) is a visually stunning film, showcasing his signature vibrant aesthetics and profound exploration of mortality and relationships. However, it struggles with weak dialogue and uneven story development, particularly in adapting Almodóvar’s richly textured Spanish prose into English.

Based on Sigrid Nunez’s novel What Are You Going Through, the film follows Martha (Tilda Swinton), a terminally ill war reporter, and Ingrid (Julianne Moore), her estranged friend, as they reconnect during Martha’s final days. While Swinton and Moore deliver commendable performances, the dialogue often feels stilted and overly expository, lacking the natural rhythm of genuine conversation. This undermines the emotional authenticity, as characters tend to state the obvious or deliver verbose monologues that feel rehearsed rather than spontaneous.

Despite these flaws, “The Room Next Door” delves into a compelling and controversial subject: the value of life and the right to end it. This theme is brought to life through its breathtaking cinematography and the contrast between Ingrid’s embrace of life and Martha’s decision to die with dignity, having been diagnosed with terminal cervical cancer.

The film opens a thought-provoking discussion on euthanasia, exploring the clash between the fear of death and the acceptance of it as a personal choice. Martha’s decision to end her life not only reflects her battle with suffering but also her desire to avoid burdening others - a sentiment that sparks debates about autonomy, dignity, and the morality of assisted death.

Martha’s character is shaped by her experiences as a war reporter, including the PTSD she carries and the complex relationship with her estranged daughter. Her internal conflict about whether to spend her final days surrounded by memories or in a neutral space further deepens her narrative. 

The film tackles the subject of euthanasia and its surrounding moral dilemmas, particularly in societies where it remains illegal and clashes with pro-life ideologies. Unfortunately, this critical topic is only touched upon briefly, leaving room for deeper exploration. While Almodóvar’s focus is clearly on portraying a peaceful and dignified conclusion to a life well-lived, one might argue the film could have been stronger with a more thorough engagement with these contentious issues. Can a “happy ending” to such a narrative truly resonate, or does it risk oversimplifying the profound complexities of this choice?

The movie’s structure, shifting between past and present, also feels disjointed, often veering into melodrama without capturing the emotional depth characteristic of Almodóvar’s finest work. While themes of mortality and unresolved relationships drive the story, they are handled with a heavy hand, leaving some moments feeling contrived rather than genuinely moving.

Despite these shortcomings, Almodóvar’s mastery as a visual storyteller remains undeniable. Through meticulous framing, he captures the intimacy and isolation of his characters with striking precision. Yet, the uneven dialogue and pacing issues hinder the film from reaching the heights of his previous works.

As a result, while “The Room Next Door” raises important questions and makes a compelling point, it lacks the emotional connection necessary to fully engage the audience - perhaps intentionally - but at the expense of deeper empathy.

Is it still worth watching? Absolutely. Even when imperfect, films that tackle significant themes serve an essential purpose. And while “The Room Next Door” may not be Almodóvar’s strongest work, it’s a poignant reminder of the importance of discussing life, death, and the choices in between.