The room Ne Animutt Door, 2024, USA, Spain
Directed By Pedro Almod
Language: English
Played: Tilde Swinton, Julianne Moore, John Turturro, Alessandro Nivola, Juan Diego Botto, Raúl Arévalo, Victoria, Luengo, Alex Høgh Andersen, Esther McGregor, Alvise Riga, Melina Matthews
drama, 01h47min
Ingrid and Martha were close friends in their youth, but life separated them: Ingrid became a writer and Martha became a war reporter. After years without contact, they meet again under unusual circumstances …
Trailer : https://www.youtube.com/watch?v=5Qroa-gbb00
Pedro Almod Animtvar's latest film is a story about the beauty of life and the inevitability of Death, full of color, light and humor. A subtle drama starring Tilda with the lead roles of Alucinton and Julianne Moore won the Golden Lion at The Last Festival in Venice.
Pre-sale of tickets: Alga Gallery.
criticism
"Pedro Almod's new melodrama / ... / is a delicate Spanish plant transplanted to Stony alien soil. Veni and hira, he's almost giving up. But when it finally blooms, we feel like we are witnessing a small miracle. The Film is so wonderful precisely because of its fragility. /.../ This is a seductive, stunning, gentle affair; a charming September duet song, performed elegantly by Tilda, with the help of an Animinton and Julianne Moore, while wandering around Antiquaries and lounging by the pool/.../. The closer Martha and Ingrid get, the richer and more real the film becomes, so the closed doors and closing captions leave us with a sense of loss. That's just the case with every good story, but probably also with every important relationship: the body is failing, the clock is ticking, and it's always later than we think.«
- 6th Brooks, The Guardian
"As is usually the case with Almod Animalvar, there is no shortage of cinematic Winks in the next room, even though the director /.../ omits some of the works mentioned in Sigrid Nunez's novel: from Hitchcock /.../ through Ozu's masterpiece journey to Tokyo to the stunning No Home Movie, The latest film by Chantal Akerman, in which the Belgian director explored her loving relationship with her mother in the shadow of death /.../. These digressions could be surprising if Almod Animtvar, with the room next door, had not set foot on a terrain that is entirely his own. / ... / In one of the most stunning passages of what are you going through, the narrator explains how the closeness of death Awakens in her ‘ a keen awareness of everything: the light pouring through the bedroom windows, the smell and taste of coffee, the structure of the wooden floor...’. This extraordinary sensibility, almost 'augmented reality', comes to the fore in the sensational back of the next room, when Almod Animatvar's cinematic artificiality intensifies to emphasize the singing of birds, to feel the surfaces of objects and to sublimate the emotional value of a kiss on the cheek. In this sense the luxury of Almodóvar involves the whole is also the most important quote from the movie, the sentences from the stories of the Dead and James Joycea, which is on the screen into a John Huston in his last film. In this way, Almod Animtvar, assisted by Jo Animtce and Huston, creates a lively Winter Sonata in which life and death lend hands to each other to reveal the value of family tradition and the importance of emotional ties.«
- Manu Animatez, Fotogramas
"The face of Tilda with the Animinton, along with her words, becomes a stunning tool of self-exploration. The actress's monumental performance could be compared in raw emotionality and contemplative power to the spirit and virtuosity of Vanessa Redgrave. She portrays Martha as a down-to-earth woman who knows only herself well and knows what she wants, but found herself in unfamiliar territory. She was not ready for this. Who is it when? But she will go on a journey and take us with her. / ... / The Film, driven by the startling humanity of the actress's performance, lifts our spirits and offers catharsis. He talks about death, but due to the fearless sincerity with which he approaches the topic, he is firmly on the side of life.«
- O Animaten Gleiberman, Variet
"As the story progresses, it becomes clear that the Almodóvarjevo the joy of the colors and the patterns is not incidental to, but in itself, the essence of the movie. He created a kind of shelter from the outside world for the women who embark on a bitter adventure together. In this way, he also lures the viewer into their story. Lime green and lilac, Scarlet and saffron yellow: Almod Animalvar knows which colors to match, which combinations will surprise and delight us. The colors of the next room are its secret message; a language of pleasure and beauty that reminds us how beautiful it is to be alive. If it is possible to make a joyful film about death, Almod Animatvar has just succeeded.«
- Stephanie Zacharek, Time
"/.../as if the artists-Jo Animlce and Almod Animlvar – were connecting through time, in desperate attempts to express the unspeakable and capture a creative moment that celebrates both the living and the dead.«
- Kevin Maher, The Times
"It may all sound depressing, but no fear! In Almod Animatvar's hands, the film constantly has a touch of light comedy. / ... / Hot Latin lovers were replaced by pink – colored snow, the homoerotic tone is less pronounced, but before us is Almod Animatvar's America-and the film is a real treat.«
- Kaleem Aftab, Time Out
The Room Next Door, 2024, ZDA, Španija
Režija: Pedro Almodóvar
Jezik: angleščina
Igrajo: Tilda Swinton, Julianne Moore, John Turturro, Alessandro Nivola, Juan Diego Botto, Raúl Arévalo, Victoria Luengo, Alex Høgh Andersen, Esther McGregor, Alvise Rigo, Melina Matthews
drama, 01h47min
Ingrid in Martha sta bili v mladosti tesni prijateljici, toda življenje ju je ločilo: Ingrid je postala pisateljica, Martha pa vojna poročevalka. Po letih brez stikov se znova srečata v nenavadnih okoliščinah …
Napovednik : https://www.youtube.com/watch?v=5Qroa-gbb00
Najnovejši film Pedra Almodóvarja je zgodba o lepoti življenja in neizbežnosti smrti, polna barv, svetlobe in humorja. Tankočutna drama s Tildo Swinton in Julianne Moore v glavnih vlogah je osvojila zlatega leva na zadnjem festivalu v Benetkah.
Predprodaja vstopnic : Galerija Alga.
kritike
»Nova melodrama Pedra Almodóvarja /…/ je občutljiva španska rastlinica, presajena na kamnito tujo zemljo. Veni in hira, skoraj se že vda. A ko nazadnje zacveti, imamo občutek, kot da smo priča majhnemu čudežu. Film je tako čudovit ravno zaradi svoje krhkosti. /…/ To je zapeljiva, presunljiva, nežna zadevica; očarljiva septembrska pesem v duetu, ki jo med postopanjem po antikvariatih in poležavanjem ob bazenu /…/ elegantno izvajata Tilda Swinton in Julianne Moore. Bolj ko se Martha in Ingrid zbližujeta, bogatejši in resničnejši postaja film, zato nas zaprta vrata in zaključni napisi pustijo z občutkom izgube. Tako je pač z vsako dobro zgodbo, verjetno pa tudi z vsakim pomembnim odnosom: telo propada, ura tiktaka in vedno je pozneje, kot mislimo.«
– Xan Brooks, The Guardian
»Kot je pri Almodóvarju običajno, tudi v Sosednji sobi ne manjka filmskih pomežikov, pa čeprav režiser /…/ izpusti nekaj del, omenjenih v romanu Sigrid Nunez: od Hitchcocka /…/ prek Ozujeve mojstrovine Potovanje v Tokio do presunljivega No Home Movie, zadnjega filma Chantal Akerman, v katerem je belgijska režiserka v senci smrti raziskovala svoj ljubeči odnos z materjo /…/. Ti odmiki bi lahko bili presenetljivi, če Almodóvar s Sosednjo sobo ne bi stopal na teren, ki je povsem njegov. /…/ V enem najbolj presunljivih odlomkov knjige Kaj prestajaš pripovedovalka pojasnjuje, kako bližina smrti v njej prebuja ‘ ostro zavedanje vsega: svetlobe, ki se zliva skozi okna spalnice, vonja in okusa kave, strukture lesenih tal … ’. Ta izjemna senzibilnost, skorajda ‘obogatena resničnost’, pride do izraza v senzacionalnem zadnjem delu Sosednje sobe, ko se Almodóvarjeva filmska artificielnost stopnjuje, da bi poudarila petje ptic, otipala površine predmetov in sublimirala čustveno vrednost poljuba na lice. V to čutno razkošje Almodóvar vplete tudi najpomembnejši citat filma, stavke iz zgodbe Mrtvi Jamesa Joycea, ki jo je na platno prelil John Huston v svojem zadnjem filmu. Tako Almodóvar ob pomoči Joycea in Hustona ustvari živahno zimsko sonato, v kateri si življenje in smrt podata roke, da bi razkrila vrednost družinskega izročila in pomen čustvenih vezi.«
– Manu Yáñez, Fotogramas
»Obraz Tilde Swinton skupaj z njenimi besedami postane osupljivo orodje samoraziskovanja. Igralkin monumentalni nastop bi po surovi čustvenosti in kontemplativni moči lahko primerjali z duhom in virtuoznostjo Vanesse Redgrave. Martho upodobi kot prizemljeno žensko, ki dobro pozna samo sebe in ve, kaj hoče, a se je znašla na neznanem ozemlju. Na to ni bila pripravljena. Kdo pa kdaj je? Toda podala se bo na pot in nas vzela s seboj. /…/ Film, ki ga poganja presunljiva človeškost igralkinega nastopa, nam povzdigne duha in ponudi katarzo. Govori o smrti, a je zaradi neustrašne iskrenosti, s katero se loteva teme, odločno na strani življenja.«
– Owen Gleiberman, Variety
»Ko zgodba napreduje, postaja jasno, da Almodóvarjevo veselje do barv in vzorcev ni postranskega pomena, ampak sámo bistvo filma. Za ženski, ki se skupaj podajata na bridko pustolovščino, je ustvaril nekakšno zavetje pred zunanjim svetom. Na ta način tudi gledalca zvabi v njuno zgodbo. Limetino zelena in lila, škrlatna in žafranasto rumena: Almodóvar ve, katere barve se ujemajo, katere kombinacije nas bodo presenetile in razveselile. Barve Sosednje sobe so njeno skrivno sporočilo; jezik užitka in lepote, ki nas spomni, kako lepo je biti živ. Če je mogoče posneti radosten film o smrti, je Almodóvarju to pravkar uspelo.«
– Stephanie Zacharek, Time
»/…/ kot bi se umetnika – Joyce in Almodóvar – povezovala skozi čas, v obupnih poskusih izraziti neizrekljivo in ujeti ustvarjalni trenutek, ki slavi tako žive kot mrtve.«
– Kevin Maher, The Times
»Morda se vse skupaj sliši depresivno, a brez strahu! V Almodóvarjevih rokah ima film nenehno pridih lahkotne komedije. /…/ Vroče latino ljubimce je zamenjal rožnato obarvani sneg, homoerotični ton je manj izrazit, toda pred nami je Almodóvarjeva Amerika – in film je prava poslastica.«
– Kaleem Aftab, Time Out