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Learn more at plus.npr.org this is FRESH AIR.
I'm Terry Gross.
My guest, Tilda Swinton stars in a new beautiful movie called the Room Next Do.
She plays a war correspondent who has dodged death several times.
Now she has cancer for which she's received harsh treatments, including in clinical trials, but the cancer progresses.
She's rejecting more treatment, refusing to continue suffering, and has decided it's time to end her life.
The film is about suffering and death and choice, but it's a beautiful film because of the sometimes poetic dialogue, the emotional depth, the relationship between the two main characters, and the contrast between Swinton's ghostly presence in the film and the vibrant, color saturated world around her, including the clothes, the walls and the furniture and the woods.
It's a form of beauty and contrast I've come to expect from the film's writer and director, Pedro Almodovar.
He's Spanish, and this is his first English language feature film.
Tilda Swinton started off in the film avant garde.
She made several films with the director Derek Jarman, including her first film, Caravaggio, and Never Expected or maybe never even sought commercial success.
But she got it anyway.
Many filmgoers were introduced to her in the title role of the 1992 film Orlando, adapted from a 1928 Virginia Woolf novel in which a young nobleman, a favorite of Queen Elizabeth's, inexplicably wakes up as a woman.
Swinton won an Oscar for her performance in the popular 2007 legal thriller Michael Clayton.
She's been in several Wes Anderson films, the Joanna Hogg films, the Souvenir and the Eternal Daughter, and those Luca Guadagnino films I Am Love, Suspirior and A Bigger Splash, the Julio Torres film Problemista and the Coen Brothers.
Hail Caesar and Burn.
After reading, Swinton even has a place in the Marvel Cinematic Universe as the Ancient One.