Pedro Almodóvar has finally done it. He made a movie in English. Honestly, fans have been waiting for this for decades, ever since he turned down Sister Act back in the day. When The Room Next Door trailer first dropped, the internet collectively held its breath because, let’s be real, translating that specific Spanish movida energy into English is a massive gamble.
It works.
The footage doesn't just show off two of the greatest actors of our generation; it signals a shift in how we talk about the end of life. Starring Julianne Moore and Tilda Swinton, the film looks like a masterclass in restrained melodrama. If you’ve seen the teaser, you know it isn't about explosions or high-speed chases. It’s about two women in a house in New England, talking. It's about Ingrid and Martha. It’s about what we owe to the people we used to love.
What The Room Next Door Trailer Actually Reveals
The trailer opens with a vibe that is unmistakably Almodóvar. The colors are too bright to be real life. Think saturated ochre, deep forest greens, and that signature crimson red that feels like a character all on its own. Martha (Swinton) is a war correspondent who is dying. Ingrid (Moore) is a novelist who is, frankly, terrified of death.
They were close once. Then they weren't.
What stands out in The Room Next Door trailer isn't a complex plot reveal, but rather the tension of their reunion. Martha has a request. It’s a big one. She wants Ingrid to stay in the room next door while she takes her own life using a pill she bought on the dark web. It’s heavy. It’s controversial. But the trailer handles it with a strange, quiet dignity that explains why this film walked away with the Golden Lion at the Venice Film Festival.
The Sigrid Nunez Connection
If the story feels familiar, that’s because it’s based on Sigrid Nunez’s 2020 novel, What Are You Going Through. Almodóvar hasn't just copied the book, though. He’s "Almodóvar-ized" it. Where the book is internal and meditative, the trailer suggests the film is more tactile. You can almost feel the fabric of the high-end sweaters Julianne Moore wears.
There’s a specific scene in the footage—a shot of the two women sitting in a garden—where the light hits them in a way that looks like an Edward Hopper painting. It’s gorgeous. It’s also deeply sad.
Why This English Debut Matters So Much
For years, people wondered if Almodóvar’s voice would get lost in translation. His movies are usually so rooted in the specific slang of Madrid and the Catholic guilt of La Mancha. But The Room Next Door trailer proves that his obsession with mothers, daughters, and the messy interiors of women's lives is universal.
He tried his hand at English recently with short films like The Human Voice (also with Swinton) and the gay western Strange Way of Life with Pedro Pascal. Those were experiments. This is the real deal.
The dialogue in the trailer sounds... different. It’s deliberate. Some critics have called it "stilted," but that’s actually the point. Almodóvar doesn't want naturalism. He wants artifice. He wants you to know you are watching a Movie with a capital M. When Swinton says, "There are many ways to live inside a tragedy," she isn't saying it like a normal person would at brunch. She’s saying it like a philosopher on a stage.
Decoding the Visual Language
Let's talk about the house. Most of the action in the trailer takes place in a stunning, modern rental home in Woodstock. It’s all glass and wood.
- The Red Door: Look closely at the door Martha chooses. Red. It’s the color of passion, but in this context, it’s the color of a boundary.
- The Pink Snow: There’s a moment where it starts snowing, but the flakes look almost pink or purple. It’s surreal. It’s a callback to the "Joycean" ending of the film, referencing The Dead.
- The Costumes: Bina Daigeler (who did the costumes for Tár) has outdone herself. The turtlenecks alone deserve an Oscar.
The music is another layer. Alberto Iglesias, Almodóvar’s longtime collaborator, provides a score that feels like a heartbeat. It’s frantic but subdued. In The Room Next Door trailer, the music swells just as the two women share a laugh about a former lover they both had. It reminds us that even in a story about death, there is a ton of room for humor. Almodóvar is great at that—making you giggle right before he breaks your heart.
The Supporting Cast You Might Have Missed
While Moore and Swinton dominate every frame, the trailer gives us glimpses of John Turturro. He plays a mutual friend, a man who seems to represent the intellectual bridge between the two women. His presence adds a bit of grounded, New York cynicism to the otherwise ethereal atmosphere.
Then there’s the daughter. Martha has a daughter she’s estranged from. We don't see her much in the trailer, but her absence is a loud, echoing thud throughout the footage. The film deals heavily with the idea that we can choose our "chosen family" (Ingrid) even when our biological family is a wreck.
The Controversy Surrounding the Subject Matter
We have to address the elephant in the room. This is a movie about euthanasia.
In many countries, and several U.S. states, what Martha is asking Ingrid to do is a legal and ethical minefield. The Room Next Door trailer doesn't shy away from this. It frames the act not as a crime, but as an ultimate act of friendship.
Some people are going to hate this.
There will be op-eds. There will be debates. But Almodóvar has always been a provocateur. Whether it was the transgressive comedies of the 80s or the dark obsession of The Skin I Live In, he’s never been one to play it safe. By putting two "prestige" actresses in this situation, he’s forcing a mainstream audience to look at a very uncomfortable topic.
How to Watch and What to Expect
The film is being distributed by Sony Pictures Classics. Depending on where you live, it might be in limited release or heading to a streaming platform soon.
When you finally sit down to watch it after seeing The Room Next Door trailer, don't expect a fast-paced thriller. It’s a slow burn. It’s a "two-hander." You are there to watch the micro-expressions on Julianne Moore’s face as she realizes her friend is really going through with it.
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Honestly, the best way to prepare is to read some Sigrid Nunez first. Her writing has this detached, cool observation that Almodóvar has translated perfectly into his visual style.
Key Takeaways from the Footage
- It’s not a "tear-jerker" in the traditional sense. It’s too intellectual for that. It makes you think more than it makes you sob.
- The chemistry is insane. Moore and Swinton have been friends in real life for ages, and it shows. There is a comfort in how they touch and look at each other that you can’t fake.
- The English language isn't a barrier. If anything, the slight "foreignness" of the dialogue makes the themes feel more ancient and mythic.
Actionable Steps for Cinephiles
If you’re hyped after watching the trailer, here is how you can dive deeper before the film hits your local theater:
- Watch 'The Human Voice': It’s a 30-minute short film by Almodóvar starring Tilda Swinton. It’s basically the blueprint for the tone of The Room Next Door.
- Research the filming locations: Much of the movie was shot in Madrid (standing in for New York) and a spectacular house in San Lorenzo de El Escorial. Seeing how he transformed Spain into upstate New York is a masterclass in production design.
- Listen to the soundtrack: Alberto Iglesias has released snippets of the score. It’s perfect background music for reading or thinking about the meaning of life.
- Check the ratings: The film deals with mature themes, so if you're sensitive to the topic of terminal illness, go in prepared. It’s handled with grace, but it’s undeniably heavy.
The buzz is real. This isn't just another movie; it’s a legendary director finally speaking a new language while keeping his soul exactly the same. Keep an eye on the awards circuit, because if the trailer is any indication, Moore and Swinton are going to be seeing a lot of each other on red carpets this year.
Make sure to look for the "pink snow" scene—it’s the moment that defines the entire cinematic experience. It’s the point where reality fades and Almodóvar’s dream world takes over. And honestly, that’s exactly where we want to be.