The Room Next Door

Pedro Almodovar's first English-language film is slightly distant

Pedro Almodóvar has been hinting at a jump into English-language filmmaking since the late 1980s, yet he previously admitted to feeling intimidated by the leap. However, during the COVID-19 pandemic, things began to change. He experimented with English through short films, first with The Human Voice (2020) and later with Strange Way of Life (2023). Now, the Spanish auteur finally makes the full transition with his first feature-length English film, The Room Next Door (2024).

The Room Next Door follows cancer-stricken war reporter Martha (Tilda Swinton), who asks her estranged author friend Ingrid (Julianne Moore) to accompany her to a remote house in upstate New York as she prepares for her final moments.

Despite the language shift, The Room Next Door retains Almodóvar’s signature style—from its Sirkian aesthetic and melodramatic overtones to its theatrical dialogue and a Bernard Herrmann-esque score by longtime collaborator Alberto Iglesias. The film continues Almodóvar’s “mature” era, which began with Bad Education (2004), incorporating reflections on existential themes, Spanish history, and desire. Mortality has loomed over Almodóvar’s recent work, particularly in Pain & Glory (2019), but The Room Next Door marks his most direct exploration of death—examining both its fearsome inevitability and its poetic allure.

Almodóvar’s greatest achievement here is successfully maintaining his style and rhythm in English. His sets remain lush and vibrant, and his female characters are once again distinct and singularly written. However, The Room Next Door lacks a crucial element that keeps it from joining the pantheon of his finest films: emotional warmth. The film carries a sense of detachment, making it difficult for viewers to form a deep emotional connection with its characters. This is largely due to the absence of humor—an essential ingredient in even Almodóvar’s darkest films, which has historically allowed audiences to connect with his characters. Without it, Martha and Ingrid feel somewhat distant, preventing the film from fully grounding its emotional weight. The warmth of Almodóvar’s Iberian sensibilities is replaced by a certain coldness inherent to the film’s Anglo setting, making The Room Next Door more of an intellectual experience than an emotional journey.

Nevertheless, the film unites two remarkable actresses under Almodóvar’s direction. Swinton, in her second collaboration with the Spanish filmmaker after leading The Human Voice, has the more substantial role. Martha’s journey is a profound meditation on mortality—grappling with how she wishes to meet death, considering the legacy she leaves behind, and reflecting on regrets and relationships. Moore, serving as the audience surrogate, has less material with which to stand out, as her character guides viewers through society’s general discomfort with death. However, she brings a graceful and generous performance to the role, providing a steady emotional anchor.

Ultimately, The Room Next Door is a compelling and visually sumptuous English-language debut for Almodóvar, offering a fascinating meditation on death. Swinton and Moore deliver excellent performances, and Almodóvar’s inimitable style remains intact, making the film an experience worth diving into. However, something is undeniably lost in translation—the absence of his signature humor leaves an emotional distance that prevents the film from fully resonating. Still, as Almodóvar grows older, each new work feels like a rare and invaluable gift.

7.4/10