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The Room Next Door

  • 2024
  • 12
  • 1 Std. 47 Min.
IMDb-BEWERTUNG
6,8/10
23.762
IHRE BEWERTUNG
BELIEBTHEIT
1.036
131
Julianne Moore and Tilda Swinton in The Room Next Door (2024)
Ingrid and Martha were close friends in their youth, when they worked together at the same magazine. After years of being out of touch, they meet again in an extreme but strangely sweet situation.
trailer wiedergeben1:38
8 Videos
99+ Fotos
Psychologisches DramaDrama

Ingrid und Martha waren in ihrer Jugend eng befreundet, als sie gemeinsam bei der gleichen Zeitschrift arbeiteten. Nachdem sie sich jahrelang aus den Augen verloren haben, treffen sie sich i... Alles lesenIngrid und Martha waren in ihrer Jugend eng befreundet, als sie gemeinsam bei der gleichen Zeitschrift arbeiteten. Nachdem sie sich jahrelang aus den Augen verloren haben, treffen sie sich in einer bittersüßen Situation wieder.Ingrid und Martha waren in ihrer Jugend eng befreundet, als sie gemeinsam bei der gleichen Zeitschrift arbeiteten. Nachdem sie sich jahrelang aus den Augen verloren haben, treffen sie sich in einer bittersüßen Situation wieder.

  • Regie
    • Pedro Almodóvar
  • Drehbuch
    • Pedro Almodóvar
    • Sigrid Nunez
  • Hauptbesetzung
    • Julianne Moore
    • Tilda Swinton
    • John Turturro
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    6,8/10
    23.762
    IHRE BEWERTUNG
    BELIEBTHEIT
    1.036
    131
    • Regie
      • Pedro Almodóvar
    • Drehbuch
      • Pedro Almodóvar
      • Sigrid Nunez
    • Hauptbesetzung
      • Julianne Moore
      • Tilda Swinton
      • John Turturro
    • 133Benutzerrezensionen
    • 174Kritische Rezensionen
    • 70Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • Auszeichnungen
      • 15 Gewinne & 34 Nominierungen insgesamt

    Videos8

    International Trailer
    Trailer 1:38
    International Trailer
    Official Teaser
    Trailer 1:09
    Official Teaser
    Official Teaser
    Trailer 1:09
    Official Teaser
    THE ROOM NEXT DOOR | Teaser Trailer (2024)
    Trailer 1:09
    THE ROOM NEXT DOOR | Teaser Trailer (2024)
    The Room Next Door: Good Idea
    Clip 0:35
    The Room Next Door: Good Idea
    The Room Next Door: Occasion Calls For It
    Clip 0:37
    The Room Next Door: Occasion Calls For It
    The Room Next Door: Hard On Yourself
    Clip 0:30
    The Room Next Door: Hard On Yourself

    Fotos145

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    Topbesetzung27

    Ändern
    Julianne Moore
    Julianne Moore
    • Ingrid
    Tilda Swinton
    Tilda Swinton
    • Martha…
    John Turturro
    John Turturro
    • Damian
    Alessandro Nivola
    Alessandro Nivola
    • Policeman
    Juan Diego Botto
    Juan Diego Botto
    • Photographer
    Raúl Arévalo
    Raúl Arévalo
    • Spanish Priest (Bernardo)
    Victoria Luengo
    Victoria Luengo
    • Fred's Wife
    Alex Høgh Andersen
    Alex Høgh Andersen
    • Fred
    Esther McGregor
    Esther McGregor
    • Young Martha
    Alvise Rigo
    Alvise Rigo
    • Jonah (The Trainer)
    Melina Matthews
    Melina Matthews
    • Lawyer
    Sarah Demeestere
    Sarah Demeestere
    • Stella
    Anh Duong
    Anh Duong
    • Anh
    Bobbi Salvör Menuez
    Bobbi Salvör Menuez
    Annika Wahlsten
      Shane Woodward
      Shane Woodward
      • Fire Chief
      Paolo Luka-Noé
      Paolo Luka-Noé
      • Spanish Priest 2
      • (as Paolo Luka Noé)
      Cristina Kovani
      Cristina Kovani
      • Gym Receptionist
      • Regie
        • Pedro Almodóvar
      • Drehbuch
        • Pedro Almodóvar
        • Sigrid Nunez
      • Komplette Besetzung und alle Crew-Mitglieder
      • Produktion, Einspielergebnisse & mehr bei IMDbPro

      Benutzerrezensionen133

      6,823.7K
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      Empfohlene Bewertungen

      5divaioclaudio

      Supremely boring. Not emotionally involving

      Despite its serious theme (Euthanasia) the film is supremely boring, disconnected and not emotionally involving at all. I wonder how it could win the Golden Lion at Venice Film Festival. The interconnected stories just don't make any sense (see the gay Carmelite friars interpolation). The character played by Turturro is flat and uninteresting. The script sounds like political propaganda and it doesn't come from the heart. Come on Pedro, you can do better than this... I'm not absolutely sure that Tilda Swinton was the best choice for this role but since The Human Voice she seems to feature in all of Almodovar's English language mpvies. There have been many films made on euthanasia (such as Amenabar's "Mar Adentro") that are certainly better worthy of notice than this frankly mediocre sample.
      7Mengedegna

      A misfire, alas.

      I was curious to see what Pedro Almodóvar would do differently in his first non-Spanish-language film, built around two of the most talented actors working today. The answer, alas: it's disappointing. There are many ways in which "The Room Next Door" lacks what makes Almodóvar's work so distinctive - the spontaneity, the sense of improvisation, the comic timing, the fizzy ensemble work -- but this film's main fault, as I see it, is that it's just plain overwritten, something that is rare in his previous work.

      The screenplay (which he is credited with writing) was adapted from a novel by Sigrid Nunez that I have not read, but it sounds like vast swatches of the dialogue were lifted verbatim from it, with much that is ponderous and stilted, slowing down and emptying the film, where Almodóvar's work is usually characterized by lapidary dialogues and madcap forward movement, plunging you into the characters' world with little exposition - as a viewer, you are kind of just there, hanging on for dear life, and figuring out relationships and social context as you go, grabbing at what you can. Even in films that deal with dark subjects ("Pain and Glory" or "Bad Education" come to mind), the action and its background unfold in convincing ways (even when these are actually crazy if you stop and think about them) that draw on our intuition and empathy and depend only marginally on extended expository narration.

      Here, it is the opposite: the characters talk and explain on and on, with a few awkward flashbacks to establish context. Little is left to our imaginations. So, while some of the usual Almodóvarian hallmarks are there, particularly in the exquisite use of saturated, cunningly coordinated color and in the tastefulness of many of the sets and costumes (here with lots of lovely still lifes of flowers and fruits), these are reduced to props - they don't serve to tell the story and overwhelm you into accepting the reality of his crazily artificial visual worlds in the way they do in most of his films. And the computer-generated backdrops of New York feel completely artificial and thus become meaningless. Almodóvar's films certainly have plots, often quite convoluted (which is part of the fun), but they don't feel plot-driven, even when they are. "The Room Next Door", on the other hand, is all about its plot, and it is the weaker for it.

      With talents like Tilda Swinton and Julianne Moore (plus the estimable John Turturro) in front of the camera, there have to be, and are, some great, often very moving, moments - how could there not be, especially given the plot's central premise and the way it both reinforces and strains a longstanding , close friendship in its final days? But the wordiness of this screenplay undermines Swinton, in particular. Her awesome strength lies in her powerful, enigmatic presence and in her understatement. In my unscientific assay, she speaks as much dialogue here as she has done in at least the last three or four of her films (the ones I've seen, that is) combined. Think of her stunning performances in another fairly recent film about the fraught relationship between two women, "The Eternal Daughter" (2022), in which she plays, devastatingly, both an aging mother and her middle-aged daughter. The relationship between the two is subtle, shifting, complex, rich and involving - and yet so little of that is based on explicit dialogue. Or take her terrific performance in "Memoria" (2021), the enigmatic masterpiece of cosmic messaging by one of the greatest of all non-verbal directors, Apichatpong Weerasethakul. These are the kinds of films in which Swinton flourishes, going all the way back to "Orlando" (1992). (She did make "The Human Voice", speaking an extended monologue by Jean Cocteau - remarkable, and showing her versatility, but not characteristic of her.) In "The Room Next Door", she is required to deliver page after page of stilted - downright unnatural - prose in ways that are uncomfortable to watch and that are alienating, at least for this viewer. (This is all made worse by the upper-class, educated-American accent Swinton is required to employ. It's impeccably observed, as you would expect from her. But, as is so often the case with actors speaking lines in accents that are not their own, you sense that a lot of the energy that should be going into the interpretation is instead being directed into making sure they get the accent right. That is definitely the case here, especially since so many of her monologues are delivered in exceedingly tight shots.)

      So I speak in sadness, as someone who's been an unconditional admirer of Almodóvar going back to the 1980s. His films have always been based on his own very peculiar, very specific vision of a Spanish culture that may never have existed in reality, but in which he makes us want to believe. Stepping out of that into English and into such a different, and less compelling, American world appears to have been a mistake. Let's hope that Almodóvar, as he pursues his amazing, extended, and rich career, will quickly go back to being himself, not the unnatural, wordy, uncompelling version that we are given here. This one, I fear, was a mistake.
      7omrizla

      A Warm Tragedy

      There are more happy moments than sad moments in this film despite its main theme being death & how we cope or don't cope with it.

      I haven't watched a lot of Almodovar but I was interested to see his first English film especially with Julianne Moore & Tilda Swinton in it.

      Other reviews say that it's nothing new from the director. Having not seen many of his films I can't confirm that. I do admire how he can take something we struggle to talk about and bring colour & happiness to it.

      There seems to also be a consensus that more could've been done with the characters considering the quality of actors available to Pedro Almodovar. I don't know about that, I think less is more.

      Enough of the characters backstory is expressed to tell the story. Why do more?
      6kristinatoliusiene

      Rather boring and predictable path

      I had high hopes for this movie because of the cast. However, the movie disappointed me. While watching it, I got the feeling that when making the movie, it was thought that good actors and a theme of death were enough to make a great movie. Nothing else happens and the whole movie could have fit perfectly into 30 minutes. And this is not a case where the action takes place slowly and deeply until it reaches the main idea or climax. In this case, the film went along a rather boring path without any deviations, as a result of which even the tears of the actors did not move me at all. Pretty bland and lacked depth.
      8rubenm

      Beauty, friendship and death

      Seeing an Almodovar movie in English is a bit weird. This is such a quintessential Spanish director, that the lack of Spanish (apart from one short sentence) seems to take away an essential element from the movie. But even in English, Almodovar stays Almodovar, just like Woody Allen stayed Woody Allen in his French film.

      I think this is one of the best movies he has made. It's beautiful, it's touching, it's meaningful. Not many films combine those three qualities. It seems as if with every new movie he directs, he gets closer to the purest film making. In this case, it's a story about two friends who both have to come to grips with death. Martha is dying of cancer and wants euthanasia, Ingrid is an old friend who is afraid of death but nevertheless agrees to accompany Martha in her last days.

      This sounds as if the film is very depressing. Let me assure you: it is not. Far from it. There are far more happy moments than sad ones. Even Martha embraces life in her last moments, because she wants to spend them in a stunningly luxurious villa in the woods.

      Almodovar once again creates a world of beauty, full of colour and aesthetics. His sets are, as usual, carefully designed. But this is also a very moving film, showing how valuable good friendships can be and how, even in death, dignity and respect are essential values.

      Almodovar includes many references in his film. Martha and Ingrid watch movies by Buster Keaton and John Huston, and they go to a cinema where a Rosselini movie is playing. But the most obvious influence, I think, is Ingmar Bergman. Not only is the story reminiscent of Bergman's Persona, but the whole movie has a Bergman-esque feeling. Just like many Bergman movies, it relies heavily on dialogue, tackles themes like death and religion, and has a limited number of characters. The difference: Almodovar adds some Spanish warmth and colour.

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      Handlung

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      • Wissenswertes
        When Pedro Almodóvar sent Tilda Swinton the script, he asked her who should play Ingrid. Both of them had Julianne Moore in mind.
      • Patzer
        The story is set in New York state, but a suspiciously high number of Spanish actors for the secondary roles (the photograph, the fitness trainer, the detective, the priest...) gives away the actual filming location: Spain.
      • Zitate

        Martha: I don't want to be at home, or go back to someplace where I was happy in the past. We must never return to the places where we were truly happy because we ruin the good memories of the first time...

      • Verbindungen
        Featured in The 7PM Project: Folge vom 8. September 2024 (2024)

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      Details

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      • Erscheinungsdatum
        • 24. Oktober 2024 (Deutschland)
      • Herkunftsländer
        • Spanien
        • Vereinigte Staaten
        • Frankreich
      • Sprache
        • Englisch
      • Auch bekannt als
        • La habitación de al lado
      • Drehorte
        • Echo Lake Park, Cranford, New Jersey, USA
      • Produktionsfirmen
        • Crea SGR
        • El Deseo
        • Instituto de Crédito Oficial (ICO)
      • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

      Box Office

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      • Bruttoertrag in den USA und Kanada
        • 2.519.488 $
      • Eröffnungswochenende in den USA und in Kanada
        • 105.013 $
        • 22. Dez. 2024
      • Weltweiter Bruttoertrag
        • 21.319.488 $
      Weitere Informationen zur Box Office finden Sie auf IMDbPro.

      Technische Daten

      Ändern
      • Laufzeit
        • 1 Std. 47 Min.(107 min)
      • Farbe
        • Color
      • Sound-Mix
        • Dolby Digital
      • Seitenverhältnis
        • 2.39 : 1

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