Adjoining room (The Room Ne Animtt Door , Spain, USA, 2024, 107 min. )
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.
Directed and written by Pedro Almod
Photo: Eduard Grau
Editing: Teresa Font
Music By Alberto Iglesias
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
Produced By: Agust Okuln Almod Okulvar
Festivals, awards: Venice (Golden Lion for Best film); Toronto; San Sebastiamutn; Ne Animatork; AFI Fest; Busan; London; Liffe
Distribution: Blitz Film & Video Distribution
Genre: drama
Story
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 …
Author's statement
"To accompany. Keeping company, being around someone without the need to talk, simply being with them. Accompanied in pain and joy. The willingness to stand by someone is one of the most valuable human qualities, more important than great emotions such as love, friendship or brotherhood. Being around – with a quiet, solidary and compassionate understanding-is sometimes the most we can do for another human being. It is not at all necessary to be a good speaker, it is more important to listen – but we must be able to listen actively so that a person can see his words reflected in the eyes of the one who listens and accompanies him. The next room shows how Ingrid, played by Julianne Moore, learns to really be with Martha, a character in the interpretation of Tilde with the Animalinton. / ... / The Film tells about the revival of an old friendship in an intimate, extreme situation. One of her friends, Martha, will die, while the other, Ingrid, will learn to accept her decision – and she will also realize that death does not mean an absolute end. People do not die completely: through my atheism, the possibility of Reincarnation has crept into the script, as well as the idea that ‘on the other side’ is not just darkness waiting for us. Martha, suffering from an incurable form of cancer, reincarnates in some way into her friend Ingrid. And it is about this process that the film tells: about a renewed friendship, which in the weeks spent in a house in the middle of the forest – a kind of purgatory between reality and the otherworldly – grows into an emotion similar to love, but without its inconveniences. / ... / The next room is perhaps the closest thing in genre to melodrama, but I tried to make a restrained and calm film, avoiding sentimentality and melodramaticism. Although the theme of death is very present, I did not want to create something gloomy or scary, but a film full of light and life: both the character of Martha and the force of nature that protects women in a house in the middle of the forest take care of it. Ever since Julieta, I have strived for greater stylistic moderation. This time, the story also demanded that from me – death as the only desired future. I tried to approach this eternal topic in a considerate and sensitive way. / ... / Tildi is kept company with / with / with / with / with / with / with / / with / / / with / / / with / / / with / / / with / / with / / / / John Turturro, The Lover that the women shared in their youth. Damian Cunningham, Turturro's character, talks about some other mortal combat: the one in which our planet found itself. The day when neoliberalism and the far right will unite will be the moment when the countdown begins; already today they shake hands.«
Pedro Almod
Comment
"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.«
The Guardian
"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 6ten 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
Sosednja soba ( The Room Next Door , Španija, ZDA, 2024, 107 min. )
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.
Režija in scenarij: Pedro Almodóvar
Fotografija: Eduard Grau
Montaža: Teresa Font
Glasba: Alberto Iglesias
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
Produkcija: Agustín Almodóvar
Festivali, nagrade: Benetke (zlati lev za najboljši film); Toronto; San Sebastián; New York; AFI Fest; Busan; London; Liffe
Distribucija: Blitz Film & Video Distribution
Žanr: drama
Zgodba
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 …
Izjava avtorja
»Spremljati. Delati družbo, biti ob nekom brez potrebe po govorjenju, preprosto biti z njim. Spremljati v bolečini in veselju. Pripravljenost, da nekomu stojimo ob strani, je ena najbolj dragocenih človeških lastnosti, pomembnejša od velikih čustev, kot so ljubezen, prijateljstvo ali bratstvo. Biti zraven – s tihim, solidarnim in sočutnim razumevanjem – je včasih največ, kar lahko storimo za drugega človeka. Pri tem sploh ni treba biti dober govorec, bolj pomembno je poslušati – toda poslušati moramo znati dejavno, da človek lahko vidi svoje besede, kako se zrcalijo v očeh tistega, ki ga posluša in spremlja. Sosednja soba prikazuje, kako se Ingrid, ki jo igra Julianne Moore, nauči zares biti z Martho, likom v interpretaciji Tilde Swinton. /…/ Film govori o oživitvi starega prijateljstva v intimni, skrajni situaciji. Ena od prijateljic, Martha, bo umrla, medtem ko se bo druga, Ingrid, naučila sprejeti njeno odločitev – spoznala pa bo tudi, da smrt ne pomeni absolutnega konca. Ljudje ne umrejo povsem: prek mojega ateizma se je v scenarij vtihotapila možnost reinkarnacije, pa tudi misel, da nas ‘na oni strani’ ne čaka zgolj tema. Martha, ki trpi zaradi neozdravljive oblike raka, se na neki način reinkarnira v svojo prijateljico Ingrid. In prav o tem procesu govori film: o obnovljenem prijateljstvu, ki v tednih, preživetih v hiši sredi gozda – nekakšnih vicah med resničnostjo in onostranstvom – preraste v čustvo, podobno ljubezni, vendar brez njenih nevšečnosti. /…/ Sosednja soba je žanrsko morda res najbližje melodrami, toda posneti sem skušal zadržan in umirjen film ter se izogniti sentimentalnosti in melodramatičnosti. Čeprav je tema smrti zelo prisotna, nisem želel ustvariti nečesa turobnega ali strašljivega, ampak film, poln svetlobe in življenja: za to poskrbita tako lik Marthe kot sila narave, ki v hiši sredi gozda varuje ženski. Vse od Juliete stremim k večji slogovni zmernosti. Tokrat je to od mene zahtevala tudi zgodba – smrt kot edina želena prihodnost. Tej večni temi sem se skušal približati na obziren in občutljiv način. /…/ Tildi Swinton in Julianne Moore dela družbo John Turturro, ljubimec, ki sta si ga ženski delili v mladosti. Damian Cunningham, Turturrov lik, govori o nekem drugem smrtnem boju: tistem, v katerem se je znašel naš planet. Dan, ko se bosta združila neoliberalizem in skrajna desnica, bo trenutek, ko se bo začelo odštevanje; že danes si podajata roke.«
Pedro Almodóvar
Komentar
»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
»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
