TIFF 2024: The Room Next Door Review

This will be one of many reviews during this year’s Toronto International Film Festival, to keep up with our latest coverage, click here.

Pedro Almodóvar is one of the great filmmakers of our generation. He’s a rare example of an international filmmaker whose work has continuously resonated with audiences around the world, all while remaining steadfastly loyal to his language and cultural roots. Almodóvar was one the few major international filmmakers of the modern era who never attempted to make a film outside of his native tongue. However, within the past few years, he has stepped out of his comfort zone to direct two short films in the English language, Strange Way of Life and The Human Voice. Now, he’s taken the plunge into feature filmmaking in English with The Room Next Door. 

The Room Next Door brings together Julianne Moore and Tilda Swinton as Ingrid and Martha, former colleagues who previously worked for the same newspaper outlet who later reconnect once Martha is diagnosed with cancer. Now isolated from her daughter and unmarried, Martha was left without close family in her final days. As Ingrid visits her in the hospital, their old bond rekindles, and she becomes Martha’s primary source of companionship. As their conversations deepen and old memories surface, Martha makes a difficult request: she asks Ingrid to stay with her in the room next door as she prepares to take control of her fate and end her life on her own terms. 

However, one glaring flaw in Almodóvar’s previous English-language shorts is their stilted and awkward dialogue. This issue is even more prevalent here, a film heavily comprised of conversations and dialog. Meanwhile, Almodóvar, usually celebrated for his witty and rhythmic screenplays, struggles to capture that same flair in English. Even visually, the film falls short of the vibrancy and charm that define his best work. The film attempts to delve deep into the ethics of euthanasia—a challenging topic that not many films have explored. As in Pain & Glory, Almodóvar uses cinema to wrestle with questions of mortality and reflect on the complexities of aging. However, this effort feels less personal and more detached, making it harder for audiences to connect. The characters and their relationships lack depth, and despite the weight of the subject matter, the emotional impact ultimately falls flat.

The script is so underwhelming that even Moore struggles to make an impact. Her performance feels flat, unable to elevate the material in any meaningful way. Swinton, however, fares better, slipping more naturally into her role, which offers greater substance. She’s recently almost exclusively portrayed oddball characters, so it’s refreshing to see her take on a more grounded, naturalistic role.

In the end, The Room Next Door is a disappointing effort from a filmmaker of Almodóvar’s caliber. While it touches on compelling themes and features talented actors, its weak script, lack of emotional resonance, and an uneven performance from Julianne Moore prevent it from leaving a lasting impression. It’s a rare misstep from a director known for his sharp writing style and visual flair. While it is checking out for fans of the talent involved, it is easily one of Almadovar’s weakest efforts to date.

still courtesy of Mongrel Media

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Tristan French