Amelia Anthony at the Los Angeles Review of Books:
For many months, the only place in New York City still showing Pedro Almodóvar’s most recent film—his first English-language feature, The Room Next Door (2024)—was Lincoln Center. Like many of Almodóvar’s films, the film features a relationship between two women, Ingrid (Julianne Moore) and Martha (Tilda Swinton); the latter now has terminal cancer, and they rekindle their friendship after years of estrangement. The film centers upon a “big ask”—will Ingrid be in the “room next door” while Martha takes a euthanasia pill to end her life? Inexplicably, Martha decides to broach this topic with Ingrid while they sit in the lobby of Lincoln Center’s Alice Tully Hall. Imagine watching this scene at the Lincoln Center theater, that brief meta-cinematic thrill—the viewer is not just next door to the characters on-screen; they are in the very same room.
This mirror between the film and the extradiegetic world forms the heart of the argument made by James Miller in The Passion of Pedro Almodóvar: A Self-Portrait in Seven Films, published this April by Columbia University Press.
More here.
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