The Room Next Door boasts Almodóvar’s recurring thematic fascinations, though his Spanish sensibility feels somewhat muted in translation.
The writer-director’s latest boasts many of his recurring thematic fascinations, though his Spanish sensibility feels somewhat muted in translation.
Despite their visual vivaciousness, Pedro Almodóvar films have long explored the singular weight of death, albeit with an element of stark levity.sees a sex scene unfold as an uncanny murder-suicide, and a leg of lamb is used to kill in—look at death through a distinctly personal lens, respectively examining the exhumation of mass graves from the Spanish Civil War and the impact of his mother’s death on his creative career.
Moore enters what, for Almodóvar, is an appropriately aesthetic cancer ward. She sports a gorgeous plum lip that is perfectly complemented by her ginger locks and rich blue eyes. Her outfit is composed of even more reds and blues, with a dark burgundy coat and deep navy handbag rounding the look into a perfectly poised New York fashion moment.
While there’s nothing wrong with shooting one location for another, the fact that New York as a setting seems far removed fromis slightly disappointing for a filmmaker who’s made a career of capturing urban sprawls in his native Spain. Obviously, it makes perfect sense to choose an American setting, considering the reference point of Nunez’s novel and the Anglophone actors Almodóvar sought to work with.
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