By: Addison Wylie

The Room Next Door is headlined by Tilda Swinton (Michael Clayton) and Julianne Moore (Being Alice), performing under the direction of Spanish filmmaker/screenwriter Pedro Almodóvar (Talk to Her). While this drama feels like an easy task for these Oscar winners, that’s essentially the magic of the film and what makes The Room Next Door effortlessly great.

For the Parallel Mothers filmmaker, Almodóvar makes his English-language debut with The Room Next Door; though the audience wouldn’t have noticed. Aside from his co-written script sounding too poetic during the occasional monologue, Almodóvar doesn’t experience a disconnect or a challenge from the material because of an emotional passion for the central relationship (and conflicting reunion) that holds this story together. Even though I still feel new to his work, I can sense that he has a one-of-a-kind talent to empathize with any intimate relationships.

Swinton and Moore play former friends who reconnect through fate and unfortunate circumstances. Martha (Swinton) confesses to Ingrid (Moore) that she’s dying from a terminal diagnosis, and she’s seeking a partner for an assisted suicide. Moore, while intimidated with conflicting emotions, agrees and tries her best to be grateful for the remaining time she has with Martha; even if Martha’s foggy feelings towards the plan makes matters difficult.

While these very recognizable actors don’t exactly disappear into their roles, what sells these performances is the chemistry – from their friendliness to their caution – which is further used to build on their shared past. This bonding also helps place the audience in an affectionate mood. No matter how heavy the film becomes, The Room Next Door sustains its own tranquility.

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Addison Wylie: @AddisonWylie