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

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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


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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).

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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


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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.”

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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


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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.”

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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


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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.

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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


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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.

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‘How to Rule the World’ explores education and power at Stanford University

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‘How to Rule the World’ explores education and power at Stanford University

Students walk on the Stanford University campus on March 14, 2019, in Stanford, Calif.

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Ben Margot/AP

When Theo Baker arrived at Stanford University a few years ago, he joined the student newspaper, following the path of his journalist parents, Peter Baker, a White House correspondent for The New York Times, and Susan Glasser, a writer for The New Yorker.

Through his reporting as a student journalist, he eventually broke a story about manipulated data in Stanford President Marc Tessier-Lavigne’s neuroscience research that helped lead to the university president’s resignation.

Theo Baker’s book, How to Rule the World: An Education in Power at Stanford University was released May 19. In it, Baker describes Stanford as a place where proximity to Silicon Valley gives rise to a parallel system of influence, recruitment and money, with investors looking to identify promising students almost as soon as they arrive on campus.

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He told Morning Edition host Steve Inskeep there was “a sort of Stanford inside Stanford,” where elite students are drawn into an “alternate reality” of excess and access to cut corners.

In the interview, he discusses how Stanford is not just a university but also a pipeline where status and power can matter as much as ideas.

We reached out to Stanford University for comment and have not heard back.

Listen to the interview by clicking play on the blue box above.

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OTB Takes Full Control of Viktor & Rolf

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OTB Takes Full Control of Viktor & Rolf
The Italian fashion group behind Diesel and Maison Margiela is taking full ownership of the avant-garde haute couture house, acquiring the remaining 30 percent it didn’t already own. Founders Viktor Horsting and Rolf Snoeren remain creative directors.
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How having zero points in tennis — or ‘love’ — came to sound so sweet

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How having zero points in tennis — or ‘love’ — came to sound so sweet

The scoreboard shows the results of the women’s singles final match between Iga Swiatek of Poland and Amanda Anisimova of the U.S. at the Wimbledon Tennis Championships in London, Saturday, July 12, 2025.

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Kirsty Wigglesworth/AP

Fifteen points in tennis? Nice. Thirty, 40 — even better. Advantage — that sounds good. “Love” — that also must be great, right? Well, not quite.

As the French Open rolls on and Serena Williams has announced her return to the sport, maybe you’ve been paying a little more attention to tennis. The sport’s scoring system is notably distinct, and can sometimes be hard to grasp for newcomers. But even tennis aficionados might not know why, or how, “love” became the unmistakable callout for zero points. For this installment of NPR’s Word of the Week, we’re exploring how a word that signifies trailing behind got such a sweet name.

“Love” comes from the heart — or an egg?

It’s hard to pinpoint when the first tennis ball went over the net. Tennis is a derivative of lots of other sports, such as “jeu de paume,” a handball game played in France, said JT Buzanga, the collections manager at the International Tennis Hall of Fame museum.

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But tennis became a patented, official sport in 1874, said Steve Flink, a journalist whose tennis coverage got him inducted into the International Tennis Hall of Fame. It has retained its unique, mysterious scoring system ever since.

“By and large, the original system has held up almost entirely,” Flink said.

The use of “love” goes back to the late 18th century, said Jesse Sheidlower, a lexicographer. But it was used earlier than that in card games such as whist and bridge. Before the term made its way to tennis, the sport favored plain old “nothing,” or “nil,” he said.

Why love in the first place, though? Historians don’t really know for sure, but there are a few theories.

The French could have something to do with it. Some historians believe “love” derives from “l’oeuf,” which means “the egg” in French. Because eggs are shaped like zeros, terms such as “goose egg” and “duck’s egg” have been used in other contexts to mean zero, Sheidlower said.

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It’s also possible English speakers mispronounced l’oeuf as “love.” But Sheidlower isn’t convinced that’s the answer.

“It’s the French equivalent of an English expression. But since that expression doesn’t appear in French, the French word wouldn’t have been used,” he said.

To be sure, France has had a lot of influence on tennis culture, Buzanga said. For example, “deuce” or a game tied at 40 points, comes from the French word for “two”: “deux.” But he prefers another prominent theory: that “love” comes from the idiom “for the love of the game.” Even if a player hasn’t scored, it doesn’t matter, because their heart is in it. It’s the theory Sheidlower said is the most plausible, because the idiom was used by the English before tennis was popularized.

Another variation of the “love of the game” theory is that the word could have come from the Dutch “lof,” or “honor” — or the Latin “amare,” meaning “to love,” Flink said.

But if tennis’ “love” doesn’t come from a French word, the theory at least has a French sensibility.

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“I think the ‘for the love of the game’ is kind of romantic,” Buzanga said.

“Love” probably isn’t going anywhere

Tennis used to be a sport of leisure. The style of play has changed a lot over the years; players are more athletic and competitive, for instance, Flink said. But the rules of the sport are more steadfast, he said.

“There’s this incredible, enduring respect for tradition in tennis,” he said. “Changes are not made easily.”

There has been one major change in modern history: the tie-break. Matches can go on and on because players have to score two consecutive points to break a deuce, or by two games to break a tied set. But the onset of television meant matches would have to get shorter if the sport wanted to capture a larger audience, Flink said.

Change even came for “love.” An alternative sprouted up in the 1970s, and is still used today: “bagel,” named for its zero shape, Sheidlower said. Novices may say “zero,” and insiders will understand what they mean, but they “will needle them about it,” Flink said.

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But “love” still prevails.

“People kind of like it,” Flink said. “It’s different. Why say zero when you can say love?”

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