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By Stephanie Bunbury. Long before making The Room Next Door , his first English-language feature, he has frequently gone on record saying that, unlike the people living in the region of small villages in Spain where he grew up, he has never been able to accept the idea that something living — least of all him — will die. It is a gut horror he shares with Ingrid Julianne Moore , who reluctantly agrees to help an old friend Martha Tilda Swinton to take her own life before her stage-four cervical cancer does.
When an initially hopeful prognosis is reversed, Martha hatches a plan to rent a house somewhere beautiful for a month and, when the moment seems right, take a suicide pill she has bought online. She just wants company: someone to sleep in the room next door. The cut and thrust of ideas, life stories, fears and emotional twists between these two forceful, vibrant women — one a novelist, the other a war correspondent for the New York Times — proves a cinematic goldmine.
Even the snow falling on New York is bright pink. Moore in particular, as the great exponent of the melodramatic heroine in the films of Todd Haynes, is in her element.
As Martha, Swinton has the crackling directness of a career reporter who can straightforwardly name her favourite war; there is a more than a whiff of Katharine Hepburn about her, even as she seemingly wastes away before our eyes. Given that is essentially a succession of intimate conversations in small spaces — as small as a bed or a banana lounge — this approach could easily become suffocating. On the contrary, The Room Next Door never feels confined.