The next room (Now in Netflix) find Pedro Almodov again contemplating mortality. Your own mortality? Maybe, it’s not as in the nose as 2019s Pain and gloryWhere he launched Antonio Banderas as a filmmaker who fights with the pain and physical and psychological pains of age. But Cream – Based on Sigrid Núñez novel Why are you happening? – The inevitability of death is absolutely deep immersion, starring Tilda Swinton as a war correspondent with terminal disease and Julianne Moore as the nearby friend who is an essential vigil. Notable, this is the first almodovar movie, and although it marks a kind of deviation for the Spanish Tymer or an author, Pedro is also very clear.
The yeast: Ingrid (Moore) is completely terrified or death. So much so, the last book is all about that. I do not think that he has helped anything, no demon seems to have been purged during his writing, but put it on a somewhat kismatic path towards an interaction with the Grim Reaper. Look, an old friend appears in a book firm and tells her that her dear Martha Martha (Swinton) has cancer. Ingrid and Martha have one of those friends of touch/where they have friendships over time they have hurt for conflict or animosity, but the many distractions and concerns of life. Ingrid falls through the cancer center and it is as if time had not passed at all; They embrace hotly and speak openly and honestly about themselves. Friendship is sometimes absolutely like that.
When they were 20 years old, Martha and Ingrid worked together as magazine writers. Martha arrived at her war correspondent for the New York Times, and Ingrid became a successful author. They separated but surely followed the work of the other. They talk about the old days and catch up with the life of the other, like you. The responsibility for reflection is understandable in Martha, since his ovarian cancer is unenforceable. The flashbacks detail how the teenager Martha (Esther McGregor) fell in love with a good guy (Alex Hogh Anderson) who returned a man damaged to fight in the Vietnam War. They had a daughter Michelle, invisible here, and Martha’s relationship with her is the issue of regret. They are separated, mainly due to Michelle’s bitterness for never knowing his father, who knew about pregnancy but disappeared from his lives and died in a strange dramatized incident in a dream flashback sequence.
Martha’s cancer experience has been a curious and curious (and Alodevarian?) One: I was prepared to die. But experimental treatments were encouraging, promoting their hope. And then they stopped working. Cancer spread and was given a maximum of a year to live and the most exhausting chemotherapy waiting. Ingrid routinely visits his old friend, giving him an ear and flowers and soft cheese kisses and general company. But Martha cannot endure the idea of living as a shadow of herself of her last months. She tells Ingrid that she acquired an illegal pill of euthanasia “on the dark website” and intends to take it, but it is not that alone. Shey Sye “in the room below” when he does. And Shey Gy Hens Ingrid to be someone. You don’t have closer friends than Ingrid? Yes, but they don’t want part of this. Ingrid should not, either, with his almost paralyzing fear of death. But the real friendship is not always roses, reminiscences and peatores on the cheek, right?
What movies will you remember you?: Almodovar establishes a film in New York City with various degrees of neurotic New York, is also similar to the posterior career of Woody Allen from Manhattan to Barcelona and Paris.
It is worth seeing the performance: Swinton gives his character with a thorny but totally comprehensive sensitivity that allows his mind enough to give us an idea, but not give away all his secrets. It is a perfectly modulated and eccentric performance with some of its best roles.
Memorable dialogue: Martha’s statement: “Cancer cannot catch me if I get first.”
Ingrid wisdom: “There are many ways to live inside a tragedy.”
Sex and skin: None.
OUR TOMA: The next room Take something incredible: it is a film about death, but it is not Maudlin or depressing. I interpreted it as the statement that life is a beautiful and beautiful curse. Ingrid’s statement about living inside a tragedy comes in a scene with a fatalistic character intelligently played by John Turturro, Damian, a lover who once shared with Martha, although at the same time, only you, an academic who lasts the climatic crisis and cannot fulfill his offspring that takes more children to a dead world. And here Almodovar affirms that death is inevitable, but so is life. Are you going to see a beautiful explosion of wild flowers and regret that inevitably with him and fall to the ground, or appreciate their beauty, so it is temporary?
The film finds Almodovar working within the gray area between optimism and pessimism, where hope and fear sometimes shoot and sometimes cover. It is a story about friendship and commitment, but ultimately it is control. Why would our protagonists be writers, builders or stories? As a journalist, Martha cannot control the narratives, she can only inform them and, therefore, is more willing to accept the reality of death. As a novelist, Ingrid enjoys omniscience and, therefore, must become familiar with his inability to control his own life narrative.
But The next room He wobbles a bit in the development of his character: always the consummated and empathetic artist, Moore brings what he can to a woman who is a bit thin on the page and recites an occasionally clumsy dialogue, despite the story The Spective. Sometimes we wonder exactly who she is, and Moore fills some of the blank spaces with the way it is intuitively carried on paper. It is sufficient to make Ingrid’s significant experience with death, his willingness to approach terribly and be content with the wishes of his beloved friend, reasonable or otherwise. It is a significantly emotional risk for Ingrid, and Almodovar finds a way of addressing the weight of the subject by crushing it, or us.
The Director Also Finds A Way To Subvertent Sub of the Norms of His Usual Tone and Method: His concern with sex is heres replace with the unique intimacy of two old Friends Who Knows Each Othher Vray Well, and Are Vray-Warepy or The Potential of The Potential of The Potential of The Potential of The Potential of The Potential Of The Potential Of The Potential Of The Potential Of The Potential Of The Potential Of The Potential Of The Potential Of The Potential Potential of the potential of the potential of the potential of the potential of the potential of the potential of the potential of the potential of the potential of the potential of the potental. Point-White address him as the adults they are. And for the Almodovar course, these intelligent, intuitive and intellectual women inside an exquisitely modulated melodrama, adding it while looking in colorful cabinets, resting in vibrant spaces, wrapping their dark red lips around succulent strawberries and grapes the size of the golf balls. (Fresh fruit in this movie, oh God, Fresh fruitThe beauty surrounding Ingrid and Martha’s suffering is an indelible piece of the thematic intention of films. Not recognizing it would be to read badly this beautiful and moving movie.
Our call: The next room Fight with the most difficult questions of life in a gentilly moving and deep way, and is as elegantly directed and acted as we would expect from this level of elite talent. It is not as vibrant and fascinating as the best work in Almodovar, but it is still a charming and reflective achievement. Transmit it.
John Serba is an independent and critical writer with headquarters in Grand Rapids, Michigan.
