Dallas Film Now.

Julianne Moore and Tilda Swinton star in Pedro Almodovar’s first English-language feature film. 

Hampered by his own script, Pedro Almodovar’s adaptation of Sigrid Nunez’ What Are You Going Through is a labored melodrama that never takes off from its excessively wordy opening scenes, despite the best efforts by co-stars Julianne Moore and Tilda Swinton. 

First published in 2020, Nunuz’ novel follows “a series of encounters” that a woman has with “various people in the ordinary course of her life.” Almodovar’s film begins with popular author Ingrid (Julianne Moore) at a book signing in New York City, where she learns that her longtime friend Martha (Tilda Swinton), a fellow writer, is hospitalized with terminal cancer. 

Ingrid and Martha spark instantly, despite their many years apart. They discuss how they first met in the 1980s, when they both worked at a magazine together, and fall easily into recalling their shared memories. 

After Martha’s hospitalization, she and Ingrid deepen their friendship, meeting frequently, and spending time together. They talk about their families and relationships.  They talk about their future, as Ingrid remains relentlessly positive, and Martha becomes increasingly morbid. Finally, Martha asks Ingrid to play a crucial role in a momentous decision. 

Julianna Moore and Tilda Swinton give measured performances, bringing heart and warmth to their roles. Eduard Grau’s lustrous cinematography, Teresa Font’s pinpoint editing, and, especially, Inbal Weinberg’s exquisite production design all serve the film well. Almodovar’s direction is perfectly fine for a low-wattage melodrama that sometimes simmers, yet never heats up to a boil. 

And that points back to the true culprit: Almodovar’s script. Drab and dismal, it’s rather shocking that a richly experienced, Academy Award-winning screenwriter (for Talk to Her, 2002) would write something that features one character explaining to another character how they met and what they did, and regurgitating memorable events, and explaining over and over again their motivations, and desires. It sounds like it was written for Netflix, for homebound people to listen to while they care for housework, fold the laundry, and prepare meals. 

The script anchors the film like a lead weight and exerts a gravitational force upon the dramatic performances, making The Room Next Door a listless, lifeless experience. 

The film opens Friday, January 17, in select area theaters.  For more information about the film, visit the official site.