Julianne Moore and Tilda Swinton Explore Friendship and Death in Meditative Film ‘The Room Next Door’

The film, adapted from a novel by Sigrid Nunez, marks Pedro Almodóvar’s English-language debut.

“There are many ways to experience tragedy.”

Even though it is pronounced in the silent drama The room next doorThis could also sum up the work of the famous Spanish director Pedro Almodóvar, who explored grief, loss, beauty and madness, often through the female experience, in his films.

The room next door, based on the novel by Sigrid Nunez (whose other meditation on mourning and death, Friend, (which is also doing the festival rounds right now), is Almodóvar’s first English-language film, though it is his 23rd feature. Thankfully, nothing is lost in translation, even if the film is gentler and kinder than many of his previous efforts.

On the same subject: Pedro Almodóvar speaks Pain and Glory and why he doesn’t want to be a “pioneer”

When author Ingrid (Julianne Moore) learns that her friend Martha (Tilda Swinton), a former war correspondent, is hospitalized with cancer, she visits her and the two old friends reconnect over memories, past loves and questions of life and death. But Ingrid, who has a deep fear of death, is pushed to the limit when Martha asks her to be in “the next room” when Martha takes a euthanasia pill, ending her life on her terms. Ingrid eventually agrees, but she is consumed by terror and anxiety as she watches Martha approach the end of her life with admirable serenity.

Moore and Swinton share most of the film, and are captivating as they meander through this pensive drama. Moore is a whirling dervish of anxiety and emotion, her nerves so frayed we can practically see sparks flying from her fingertips. Swinton, by contrast, is breathtakingly still, a woman who made peace with death long ago and welcomes it as her final act of self-possession.

The room next door This is not a political commentary on the right to die with dignity, nor a debate on the morality of euthanasia. Rather, it is a candid portrait of friendship: its cozy familiarity, its deep warmth, and its inevitable sense of the unknown.

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Ingrid doesn’t understand how Martha could have made this choice or how she could have been so casual about it. When the two travel upstate to stay at a cottage where Martha plans to end her life, Ingrid is terrified she’ll wake up and find Martha dead. But she channels that energy into walks, trips to the gym, and an attempt to offer Martha comfort and connection as they read books and watch movies.

How we perceive these moments probably depends on our comfort level with death. Ingrid’s morbid fears seeped into me as I palpably catalogued the latest films or books Martha chose to enjoy. My own existential crisis surfaced alongside Ingrid’s as she struggled to understand Martha’s decision. But Ingrid realizes that it’s not about understanding the choice, it’s about being there. Ingrid and Martha show that friendship is never about knowing the other person completely, a somewhat impossible task. Rather, it’s about being present, even in moments of deep confusion or disagreement.

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Swinton perfectly sells Martha’s maddening calm and coldness, a woman at peace with her choices — even the things she leaves unresolved and unfinished (notably her estrangement from her daughter, Michelle).

John Turturro also stars as Damian, another writer concerned about the impending end of the world due to climate change. He’s nihilistic in a way that Martha isn’t, contrasting his pessimistic vision of a dying planet with Martha’s blissful commitment to the natural world and the beauties she’s absorbing for the last time. Turturro’s unique blend of charm and realism shines as he slips into this world like it’s a favorite sweater.

The film relies heavily on close-ups and medium shots, allowing us to sit with these two friends as they wrestle with some of the universe’s most unfathomable questions. Moore and Swinton are always impeccable performers, and that remains true here as they lend exquisite introspection to their characters. Seeing these two masters at work, simply coexisting, is reason enough to see the film.

Almodóvar often opts for more ostentatious camera techniques, but here he forgoes them to let the emotional depth of the story do its work. Traces of his fascination with bright colours can still be found, particularly in the costumes and production design – with cheerful, vibrant sets and locations juxtaposed with the morbid undertones of the story. This underscores the thoughtful nature of the film, emphasising the vitality of these women’s lives while insisting that we try to view the death as something more than just a tragedy.

Yet even with his preoccupation with death, The room next door is not a gloomy film. In fact, it is quite optimistic, celebrating the beauties of life and meaningful connections in the face of death with a thoughtful and pensive tone. Our end is something we all have to face, but the film posits that doing so surrounded by beauty and love is something we should embrace. Grade: B+

Read the original article on Entertainment Weekly.