{"id":152661,"date":"2024-12-19T17:58:15","date_gmt":"2024-12-19T17:58:15","guid":{"rendered":"https:\/\/www.hollywoodintoto.com\/?p=2042119"},"modified":"2024-12-19T17:58:15","modified_gmt":"2024-12-19T17:58:15","slug":"the-room-next-door-may-surprise-almodovar-fans","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/12\/19\/the-room-next-door-may-surprise-almodovar-fans\/","title":{"rendered":"\u2018The Room Next Door\u2019 May Surprise Almodovar Fans"},"content":{"rendered":"

Pedro Almodovar\u2019s \u201cThe Room Next Door\u201d immediately sets up its premise.<\/strong><\/p>\n

We meet Ingrid (Julianne Moore) signing copies of her new book. Ingrid learns that her dear friend Martha (Tilda Swinton) has been diagnosed with stage 3 cervical cancer. The two rekindle their friendship (some time has passed since they last saw one another) and eventually become roommates.<\/p>\n

As Martha\u2019s health worsens, she warns Ingrid of what is ahead, specifically that if her door is closed in the morning, it probably means she has died.<\/p>\n

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\u201cThe Room Next Door\u201d is Almodovar\u2019s first English-language film. It won the Golden Lion at the Venice Film Festival and is based on Sigrid Nunez\u2019s 2020 novel, \u201cWhat Are You Going Through.\u201d<\/p>\n

I had to see this one twice, as I wasn\u2019t sure it worked the first time. I initially felt that the dialog was too mannered and that the presentation was too stagey and not cinematic enough. Also, considering how heavy the material is, I was unsure that the lightness of tone and dialed-down style (Almodovar\u2019s films are usually saturated with color) fit the story.<\/p>\n

Upon revisiting the film, I found that the opening scene not only set up the story and themes perfectly (a common trait in Almodovar\u2019s work) but I was stunned by an exchange between Ingrid and a customer that I somehow missed the first time:<\/p>\n

While autographing her latest novel in the bookstore, a customer walks up to Ingrid, hands her a book and, as Ingrid signs it, the customer asks, \u201cCan you please write, It Won\u2019t Happen Again?\u201d The customer then assures Ingrid that, indeed, whatever happened, it won\u2019t happen again.<\/p>\n

The moment hit me hard. Despite how many of Almodovar\u2019s films can be described as melodramas (not always a complimentary word), his best works aren\u2019t just richly cinematic but deeply compassionate about his characters.<\/p>\n

\u201cThe Room Next Door\u201d is no different.<\/p>\n

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There are some flashbacks, but most of the film is like a theatre piece, as Martha and Ingrid discuss the past and reflect on choices they\u2019ve made. The flashbacks feel like mini-melodramas, but there\u2019s no camp, as Almodovar plays down the pulpiness as much as possible.<\/p>\n

Anyone who remembers why Almodovar\u2019s \u201cTie Me Up! Tie Me Down!\u201d (1990) was an early recipient of the NC-17 rating will be as surprised as I was to how much restraint there is here.<\/p>\n

Because Almodovar wastes little time getting to the core of the film, which is the extended conversations shared between Ingrid and Martha, the film has little filler, invites us to enjoy the conversations and avoids being depressing. Alberto Iglesias\u2019 Bernard Herrmann-esque score is an interesting touch, especially since this isn\u2019t a thriller.<\/p>\n

Let\u2019s talk about Almodovar\u2019s prior films, which typically showcase visual symmetry and costumes and sets that are color coordinated to perfection. You might forget the plot of an Almodovar film, but you won\u2019t forget how it looks and makes you feel.<\/p>\n

His best films aren\u2019t just riveting stories with terrific performances but true expressions of cinema.<\/p>\n

I\u2019d cite the top of hill being Almodovar\u2019s \u201cVolver\u201d (2006), \u201cBroken Embraces\u201d (2009), \u201cThe Flower of My Secret\u201d (1995), \u201cThe Skin I Live In\u201d (2011) and his most recent masterpiece, \u201cParallel Mothers\u201d (2021). Almodovar also has an affinity for Hitchcock, hence his most shocking films \u201cThe Skin I Live In\u201d (featuring a towering, career-best turn from Antonio Banderas) and \u201cBad Education\u201d (2004).<\/p>\n

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While Almodovar\u2019s latest is far less lush than one would expect from such a maestro, it’s among his most heartfelt. Note the scene where Ingrid meets an unexpectedly sweet, sensitive personal trainer. The movie doesn\u2019t need that scene but I\u2019m glad it\u2019s there, as it gives us another window into Ingrid.<\/p>\n

Swinton\u2019s American accent is flawless, as is her chemistry with Moore. To no one\u2019s surprise, both actresses are excellent here. \u201cThe Room Next Door\u201d likely sounds like a disease-of-the-week TV movie in plot description, but Almodovar\u2019s handling of the material, even as it defies our expectations of him, elevates it above the ordinary.<\/p>\n

The flashbacks aren\u2019t always great and the scenes with John Turturro, playing Ingrid\u2019s friend and former lover, succeed in opening up the story but the film didn\u2019t need them. The Turturro scenes reminded me of \u201cMindwalk\u201d (1991), a three-person film where a conversation both existential and pretentious lasts the entire running time.<\/p>\n

I love films where characters have great conversations that make the audience feel like coffee shop eavesdroppers. Also, it\u2019s a welcome touch to have movie dialog that isn\u2019t always about the plot.<\/p>\n

Nevertheless, even with an actor this good, we don\u2019t need the Turturro scenes. Turturro\u2019s character suggests, halfheartedly, that Martha\u2019s ailment is a symbol of the post-pandemic planet, another misstep.<\/p>\n

On the other hand, there\u2019s a great supporting role from Alessandro Nivola, who energizes the third act just when you\u2019d suspect the film would be winding down.<\/p>\n

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A post shared by Marissa Asal (@marissaasalart)<\/a><\/p>\n<\/div>\n<\/blockquote>\n