Connect with us

Lifestyle

Pedro Almodóvar meditates on death in first English feature 'The Room Next Door'

Published

on

Pedro Almodóvar meditates on death in first English feature 'The Room Next Door'

Julianne Moore (left) plays Ingrid and Tilda Swinton plays Martha in Pedro Almodóvar’s The Room Next Door.

Iglesias Más/© El Deseo. Courtesy of Sony Pictures Classics


hide caption

toggle caption

Advertisement

Iglesias Más/© El Deseo. Courtesy of Sony Pictures Classics

Pedro Almodóvar, the Spanish director known for brightly colored films filled with melodramatic plot twists, has unveiled his first English-language feature film. The Room Next Door dives into the inevitability of death and its inextricable ties to life.

“I don’t believe in God… I don’t accept death,” the 75-year-old director told NPR’s A Martínez. His unease is shared with Ingrid, played by Julianne Moore. Her long-lost friend Martha (Tilda Swinton) has a failed cancer treatment and asks Ingrid to accompany her during her last days in upstate New York.

“As Julianne said at the beginning of the movie, it’s unnatural that something that is alive should die,” Almodóvar added. He wrote the script, which was adapted from part of Sigrid Nunez’s novel What Are You Going Through (2020).

Advertisement
Every morning, Ingrid (Julianne Moore) looks up the staircase at her friend Martha's door. If it's closed, Martha has said that means she has taken a lethal pill and is now dead.

Every morning, Ingrid (Julianne Moore) looks up the staircase at her friend Martha’s door. If it’s closed, Martha has said that means she has taken a lethal pill and is now dead.

Iglesias Más/© El Deseo. Courtesy of Sony Pictures Classics


hide caption

toggle caption

Iglesias Más/© El Deseo. Courtesy of Sony Pictures Classics

Advertisement

The film received the top prize (Golden Lion) at the Venice Film Festival. While it was snubbed for the best picture race in Spain’s Goya Awards, the director and his two leads all got individual nods. Swinton was also nominated as best actress for the Golden Globes.

Almodóvar says he chose to shoot The Room Next Door in English simply because the story called for it. Martha wants to die on her own terms, painlessly and peacefully, by ingesting a euthanasia pill she purchased on the dark web.

Euthanasia is legal in Spain. But it’s still banned in the United States, although some jurisdictions like Washington, D.C. and Oregon allow assisted suicide.

“If I am terribly sick, if life doesn’t offer me anything but pain, then I want to be the owner of my death,” Almodóvar said. “And I think this is a human right that we all have.”

Advertisement
Almodóvar's idiosyncrasies fill The Room Next Door, including his use of saturated colors. Red, the color of blood flowing through arteries, is especially prevalent throughout this film.

Almodóvar’s idiosyncrasies fill The Room Next Door, including his use of saturated colors. Red, the color of blood flowing through arteries, is especially prevalent throughout this film.

Iglesias Más/© El Deseo. Courtesy of Sony Pictures Classics


hide caption

toggle caption

Iglesias Más/© El Deseo. Courtesy of Sony Pictures Classics

Advertisement

Parallel to Martha’s path toward death is Ingrid’s transformation in overcoming her own anxiety over the ethical and legal dilemma of helping Martha end her life.

In the stylish home in the woods where Martha spends her final days, there are three characters — the two women and death itself, the director explains. “Ingrid learns in that kind of sweet, apocalyptic moment how to appreciate the small things in life. She learns to appreciate nature: snow falling, dawn rising, the chirping of the birds.”

James Joyce’s short story The Dead is quoted, while pink snow falls on the scenery: “His soul swooned slowly as he heard the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.”

Advertisement

It’s not all doom and gloom — there are moments of lightness and many of reflection. Almodóvar had initially scripted a lot more dark, wry humor, saying Swinton was up for it but Moore “was a little less so because she was afraid that it might offend people.”

L to R: Tilda Swinton, director Pedro Almodóvar and Julianne Moore appear on the set of The Room Next Door

L to R: Tilda Swinton, director Pedro Almodóvar and Julianne Moore appear on the set of The Room Next Door

Iglesias Más. © El Deseo. Courtesy of Sony Pictures Classics


hide caption

toggle caption

Advertisement

Iglesias Más. © El Deseo. Courtesy of Sony Pictures Classics

Almodóvar has his own ways of processing the fragility of life — by creating. “Pleasure for me is a way of running away from death, by writing and making movies,” he said.

In Pain and Glory (2019), the mother of a writer-director (Antonio Banderas) gives specific directions about how she wants to be dressed and made up after she dies. Almodóvar, who infuses his films with parts of his own life, says he had the same experience with his own mother.

The plot of this story may have called for it, but the decision to shoot his 23rd feature film in English was not an easy one for Almodóvar, who apologized for his “very bad” English in the interview and at times spoke through an interpreter.

Advertisement

He tested the waters first with two 30-minute shorts in English, Strange Way of Life and The Human Voice (the latter features Swinton). The experience, he said, “was like doing my first movie. I was very excited.”

Director Pedro Almodóvar operates a camera on the set of The Room Next Door

Director Pedro Almodóvar operates a camera on the set of The Room Next Door

Iglesias Más. © El Deseo. Courtesy of Sony Pictures Classics


hide caption

toggle caption

Advertisement

Iglesias Más. © El Deseo. Courtesy of Sony Pictures Classics

Almodóvar then had planned to direct a feature with Cate Blanchett based on Lucia Berlin’s collection of short stories A Manual for Cleaning Women. But the travel required for the monumental project proved too daunting for Almodóvar, who had back pain after surgery, and he pulled out.

Creating The Room Next Door, which was largely shot in Madrid, has left Almodóvar “much more open to make a movie in English than before.” While it would depend on the story at play, “I discovered that I could understand the actors and the actors also understood me.”

The broadcast version of this story was produced by Barry Gordemer. The digital version was edited by Majd al-Waheidi.

Advertisement

Lifestyle

‘The Invite’ is a marriage comedy with sex and heart

Published

on

‘The Invite’ is a marriage comedy with sex and heart
What happens when a simple dinner party goes off the rails? That’s the premise of The Invite, a very good new comedy directed by Olivia Wilde. Wilde also stars alongside Seth Rogen as a couple who invite their neighbors over for a meal, played by Penelope Cruz and Edward Norton. And it’s a heck of a dinner party, full of frank talk about sex and its complications.If you like slightly absurd relationship comedies, check out these episodes:’Mr. & Mrs. Smith’ is a stylish take on spy marriageIn Tina Fey’s ‘The Four Seasons,’ marriage is far from a vacationConnect with Pop Culture Happy Hour:Letterboxd / FacebookOur weekly newsletterSupport Pop Culture Happy Hour+
Continue Reading

Lifestyle

L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

Published

on

L.A. Affairs: It’s hot when a man drives to me. But would this new guy make the trek from the Valley?

I met Dan on Hinge.

He lives in Woodland Hills, and I live in Venice. In Los Angeles, this is considered a long-distance relationship. In another city it might be nothing. Here, it’s a factor.

But I believe that with the right person, you can make anything work, so I stay open. I’m a native New Yorker, and if I were living in Brooklyn and a guy lived on the Upper West Side, that would be a 45-minute subway ride, which is truly nothing in New York. So with that same logic, I try to have flexibility with men in L.A.

When we started planning our first date, Dan suggested three options: a hike on mushrooms, a wine tasting or a walk on the beach.

Advertisement

A hike on mushrooms is something I’d only do with someone I already trust, not someone I just met online. I don’t do first-date hikes because I don’t like feeling trapped if the guy’s a dud. So I chose the wine tasting.

Then I learned the wine tasting was in West Hills.

On a Friday night, driving there from Venice would be insane. So I said I didn’t want to meet there because of the traffic. He suggested Malibu. That was also not ideal on a Friday.

I was getting annoyed — this was a pink flag because in my dating world, the guy is supposed to come to the woman’s neighborhood in the early days. I’ve gone out with plenty of men from the Valley who effortlessly suggested they come to me. It’s not rare or impossible.

I suggested he come to the Westside. I didn’t specifically say Venice, and in hindsight, I probably should have. He landed on Brentwood, which was manageable for both of us. On our first date, we met at an Irish pub on Wilshire Boulevard. He was cuter and more interesting than I had expected, and with the Guinness flowing, we had fun.

Advertisement

When I got home, he texted me: “Well, I like you 🙂 Less the tik tok and the lack of rock music in your life, but it’s not a deal breaker — there are other qualities 🙂 What are your thoughts?”

I noticed the slight negativity but was mostly dazzled that a man texted immediately after the date to say he liked me. In the modern dating economy, this felt rare.

The next day, both of our evening plans fell through, so we made a last-minute date. The wine tasting he originally suggested still sounded like fun, and although it meant me driving to the Valley, I was up for it now that we’d met.

We sipped flights at Malibu Wines & Beer Garden in its airy, romantic courtyard and played a flirty version of Truth or Dare. Halfway through, he dared me to kiss him.

We ended with sushi on Ventura Boulevard and a short make-out session in his car. He invited me to Thanksgiving at his uncle’s, which felt too soon, but also sweet.

Advertisement

After the second date, he texted and said he had his kids that week and was also hosting an event on Thursday, so his only day to meet was Wednesday. I said great.

On Tuesday night, he checked if we were still on, and I said yes.

Then he texted: “I’m flexible on time but not on location. I have a big event on Thursday, hopefully you can come to me again.”

My stomach tightened. This again?

So I texted back: “I drove to you last time, which was a bit of an exception for me especially in the early days, but the wine tasting location sounded special. Usually guys come to my area. How about we switch it up this time?”

Advertisement

He replied: “I appreciate the effort! Because of my event, I’d rather be close to a computer just if needed … Here is what i offer:
— I’ll come to your area anytime next week/end
— Lunch/dinner on me
I want to continue where we stopped last time 😉 No pressure of course, but let’s snuggle”

I responded: “Ok let’s meet next week. Snuggles sound nice … let’s see what happens …”

Then he wrote: “So I won’t see you tomorrow?”

I replied: “Unless you wanna come to me and bring your laptop along, let’s rain check until you have more flexibility.”

He said: “Dang, you are hard. I’ll let you know tomorrow around midday if it’s ok.”

Advertisement

And then — surprise — he decided to come.

He drove to Venice for a 5 p.m. date. He said his ETA was 5 p.m., and it ended up being 5:25 p.m., typical 405 Freeway.

When he showed up, he was in a cranky mood. On our way to KazuNori in Marina del Rey, I thanked him for picking me up and told him I think it’s hot when the guy comes to the girl.

“You’re just saying that because you want me to come to you more,” he said, not playfully, but aggressively.

That was basically the end for me. But there I was, in his car, heading to dinner. So I stayed pleasant and tried to make the best of it.

Advertisement

I shared that in the early stages of dating, I find it’s good etiquette for the guy to come to the woman’s neighborhood. He immediately disagreed and started ranting about how dating rules are ridiculous and how they swing in women’s favor. He resented paying for dates and declared he wasn’t looking to “sponsor a woman’s life.”

“If women want equality and equal rights,” he said, “then it should apply all across the board, including dating, and the man shouldn’t have to pay.”

I said women don’t actually have equal rights because we get paid less than men and often receive lower salaries than men in the same position.

I tried to change the subject and reset the mood, but he insisted we keep hashing it out.

I tried to explain masculine/feminine dynamics: providing and protecting, giving and receiving.

Advertisement

“What does the man get out of this arrangement?” he asked.

It was like watching someone’s personality warp into Mr. Hyde. Then he brought up another point: He’s a single dad of two kids, so he gets tired; and because I don’t have kids, that should factor into who drives where.

At this point, I was barely engaging and focused on eating my hand rolls, and I couldn’t wait to get home.

The check came, and I happily split it, wanting nothing further from him.

In the car back to my place, he remarked: “It’s obvious we’re never gonna see each other again.”

Advertisement

Obvious, but did it need to be stated?

Then he showed me a Spotify playlist he’d made for me of his favorite electronic music, because he knows I like EDM.

“Oh, that’s sweet,” I said.

“Yeah, that’s how I show interest. Through things like this, not who drives to who,” he replied.

When I got out of the car, we wished each other luck, and I headed inside and shut the door.

Advertisement

Two hours later, he sent me the playlist. I’ve yet to listen to it.

It wasn’t the distance that ruined it. It was the resentment. I’m not looking for a man who feels burdened by the effort. I’m looking for a man who sees the value of courting a woman in the first place.

The author is a writer, comedian and former psychologist who lives in Venice. She is the creator of the new vertical series “Manfari.” She’s on Instagram: @solange_neue and @manfari.show.

L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.

Advertisement

Continue Reading

Lifestyle

Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Published

on

Smithsonian chief emphasizes ‘accuracy and integrity’ after White House report

Lonnie Bunch III is the 14th Secretary of the Smithsonian. He’s pictured above in September 2017.

J. Scott Applewhite/AP


hide caption



toggle caption

Advertisement

J. Scott Applewhite/AP

In a memo addressed to staffers sent Tuesday, the secretary of the Smithsonian, Lonnie G. Bunch III, defended the institution after the White House issued a 162-page report that characterizes the National Museum of American History as a place which has become “subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

In his email, which NPR has obtained, Bunch wrote in part: “While there will always be room for improvement, this report is not a fair characterization of the work and totality of the National Museum of American History. At the Smithsonian, our work is driven by scholarship, accuracy and an uncompromising commitment to tell the fullness of America’s story. As public servants and the keepers of this institution, we are charged with helping a nation find understanding, hope and clarity and as part of that duty, we are dedicated to excellence, reflection and growth.”

He continued: “We remain focused on what grounds us: a steadfast commitment to scholarship, nonpartisanship, independence, accuracy and integrity. For nearly 180 years, the Smithsonian has worked alongside partners across government — from the White House to Congress to our governing Board of Regents — guided by our enduring mission to increase and diffuse knowledge. That purpose remains: to pursue knowledge with rigor and to serve the American public with clarity and care.”

Advertisement

The White House report was issued on July 4 by the Domestic Policy Council under the title “Saving America’s Story: How Ideological Capture at the Smithsonian Institution’s National Museum of American History Erases Our Heritage.”

The council faults the National Museum of American History on a multitude of fronts, saying it underemphasized the Founding Fathers and early colonial and Revolutionary history; was not sufficiently celebratory of the country’s 250th anniversary; and that it engaged in “anti-white,” “illegal alien” and transgender activism.

It also accuses the museum of trying to “indoctrinate” teachers and students through its exhibitions, programming and teaching resources.

In the report, the council also specifically criticizes museum director Anthea Hartig, who has led the National Museum of American History since 2019 and is concurrently the president of the Organization of American Historians, calling her “an activist advancing an ideological agenda contradictory to the museum’s founding purpose of fostering patriotism.”

Continue Reading
Advertisement

Trending