3 hours Ago By Santiagoc
Although “The Room Next Door” marks Pedro Almodóvar’s debut English-language film, Tilda Swinton believes he’s retained his unique voice. “He writes in Pedro language, and here he is making another film in another version of Pedro language, which just happens to sound a little bit like English,” Swinton remarked. Set in New York, the film features Swinton as Martha, a terminally ill woman determined to end her life on her own terms.
She reconnects with her friend Ingrid, portrayed by Julianne Moore, and convinces her to stay for company as she prepares to say goodbye. Swinton sees the film as a reflection of personal autonomy over life and death, drawing from her own profound experiences. “In my own life, I had the great good fortune to be asked by someone in Martha’s position to be his Ingrid (Julianne Moore),” she shared.
This experience shaped her perspectives on life and death, enhancing her ability to be present for others in similar situations and her own mortality. Swinton opened up to The Associated Press about her role in “The Room Next Door,” her views on assisted dying, and working with Almodóvar. Here are some highlights of her conversation, with remarks edited for clarity and brevity.
Asked about the challenges of embodying her character, Swinton expressed gratitude for the role. “I felt really blessed by the opportunity. Many of us have been in Julianne Moore’s character’s position, witnessing someone’s final moments.
Whether they’re orchestrating their own dismount or not, being that witness is a profound privilege.” Addressing the potential impact of the film on audiences dealing with terminal illness in their families, Swinton noted, “It’s a really beautiful poem to a possibility of an attitude. Martha’s attitude towards her own life is inspiring.
I hope the film encourages people to face their own death with dignity, making it clear that it’s not just unlucky who get ill or die, but an inevitability. Embracing this reality can enhance our appreciation for life.” Swinton reflected on the portrayal of assisted suicide in the film, noting, “There are many countries where it’s legal to assist someone’s decision to end their life.
In the United States, there are 10 states where this is not criminalized. New York, where our film is set, isn’t one of those states. Many wise and compassionate people are actively campaigning to broaden this acceptance.
” On working with Almodóvar, Swinton recounted her experience, both with the short film “The Human Voice” during the pandemic and now. “We shot ‘The Human Voice’ in nine days. I thought Pedro was working fast because it was a short film during COVID.
But that’s just his style—super fast, two takes if you’re lucky.” Swinton found that this rapid pace lent itself to an organic performance. “Knowing Pedro’s work well, it feels like stepping into his unique world, which is always a bit of a trip.
It’s like a country I love visiting.” Reflecting on the film’s reception, particularly the 18-and-a-half-minute standing ovation at Venice, Swinton described it as overwhelming. “When you’re in an audience, that’s when you know if the souffle has risen.
Standing there with Pedro and seeing such a heartfelt response was an unforgettable experience.” Asked whether awards season buzz plays a role in her considerations, Swinton dismissed the notion. “Not for me.
I’m generally unaware of it. It’s like asking if I think about the weather months ahead. No, I believe in staying present and realistic.
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