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Hotel

Hotel

Pain. Torture. Perversion.

200193 minRMidcredits score: 13th percentile of all films
Director
Mike Figgis
Starring
Max Beesley, Fabrizio Bentivoglio, Brian Bovell, Saffron Burrows

A sex worker, a hired killer, and a movie crew cross paths in a Venice hotel where human meat is on the menu.

Where to watch

Where can I watch Hotel?

As of October 24, 2026, MovieCove lists Hotel streaming on Full Moon via Prime Video, IndiePix Unlimited via Prime Video and The Roku Channel (free).

Your rating, lists and review

Highlights

What stands out about Hotel?

Hotel earns 2 badges, led by Interlocking stories and Award Nominee.

  • Craft and mood
  • Awards and box office

Reception

Is Hotel worth watching?

Hotel's Midcredits score is the 13th percentile of all films, from 3.2K ratings across 5 sources. 26% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

13th percentile

Better received than 13% of films

12th percentile among Comedy13th percentile among 2000s
Acclaim (how much people like it)12th
Approval (how many liked it)17th

47 /100

12th percentile of all films

11th percentile among Comedy12th percentile among 2000s

Critics 47 · Audience 47

Critics and audiences broadly agree.

Rating distribution

Ratings scatter across the whole scale — one of the most divisive reactions in the catalog.

26% liked it

17th percentile of all films

16th percentile among Comedy15th percentile among 2000s
26% rated it 7–1074% rated it 1–6

Critics 41% · Audience 31%

On Rotten Tomatoes, a bigger share of critics approved than audiences.

Awards

0 Oscars won · 0 Oscar noms · 0 wins / 2 noms overall

Reach

How many have seen it

67th percentile

3.2K ratings across platforms

62nd percentile among Comedy59th percentile among 2000s
TMDB popularity, last 37 days to Oct 26Down 18% in 30 days

Box office

Opening weekend$13K
Domestic gross$30K
Worldwide gross$36K

16th percentile earner in its genre.

What reviewers say

Common ground

Both fans and detractors acknowledge that Hotel is an ambitious, experimental, improvisational film that prioritizes atmosphere and performance over a conventional plot, but they disagree on whether that ambition results in artistic success or pretentious failure.

Fans praised

  • Opportunity for all-star cast to actually act and improvise in ways Hollywood doesn't allow
  • Ambition and artistic risk-taking with multi-screen format and improvisational style
  • Effective atmosphere and sense of place in Venice

Detractors panned

  • Pretentious, pseudo-intellectual, and self-indulgent
  • Lacks a coherent story, plot, or character development
  • Deceptive marketing that misrepresents the film as horror/mystery

What stands out

Originality78

Highly experimental, multi-screen format and improvisational approach; praised for risk-taking, criticized as pretentious

ActingDivisive72

All-star cast given rare room to improvise; fans hail it as showcasing their talent, detractors see wasted potential

Sound and music70

Effective score by director Mike Figgis that embodies the film's tone

Cinematography65

Interesting editing and beautiful shots of Italy, but divisive use of multi-screen

AtmosphereDivisive62

Strong setting and tone in Venice, but sometimes undermined by dourness or gratuitous eroticism

CharactersDivisive45

Interesting collection of characters, but underdeveloped due to lack of script

Emotional impactDivisive40

Fans find it engaging and challenging, detractors feel it's emotionally empty

Plot and story15

Deliberately plotless and elusive; fans see it as a challenge, detractors see it as nonexistent

Preferred by

No notable difference between any of the groups: each pair ranks it within 10 percentile points.

  • US vs non-US 8 points apart

Watch experience

What is Hotel like to watch?

Conclusions only — categories and positions, no plot detail.

No single mood: browse every movie of this kindNo one kind of watch fits it, so it is described by how heavy it is.

Watch this when you can give it your full attention, and you want something dark and affecting.

It is intense, takes its time and leaves you unsettled. Skip it when you can only half-watch or you want things to move fast.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Your full attention, patience and a taste for open questions.

What it feels like

Moods
AbsurdColdDreadManic
Heaviest: throughout
Dark humor
Register
Absurdist · 7% of films: Deliberately illogical; embraces nonsense.Satirical · 5% of films
Told as
Hyperlink · 1% of films: Separate storylines that intersect by coincidence.Episodic · 13% of films: Loosely connected incidents rather than one driving plot.
ToneThe film presents its chaotic, improvised narrative with a self-conscious absurdity, satirizing the pretensions of filmmaking and art.
The rideThe film sustains a chaotic, uncomfortable, and bizarre energy from its improvisational structure and cannibalism subplot.
StructureThe film intercuts multiple storylines (film crew, documentary, hotel staff, guests) without a conventional three-act structure, consistent with Figgis's multi-screen experimentation.

How it leaves you

what you carry away

Unsettled.

UnsettlingBittersweet
Why it leaves you this wayThe film leaves a lingering unease from its cannibalistic and chaotic elements, mixed with a sense of wasted potential.
How it ends · evidence
Ambiguous ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9%: Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% · Crushed by fate 3%
  • Rebirth 13%: Redemption 3% · Healing 5% · Liberation 2% · Second chance 2%
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22% (this title)

No archetype fits — true of 22% of films: ensemble pieces, satire, slice-of-life.

Why this archetypeThe film lacks a central narrative arc, functioning as an ensemble piece with intersecting vignettes rather than following a single protagonist's journey.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfIsolationSociety
Every theme, clockwise from the top
  • Bonds 27%: Romantic love 15% · Marriage 2% · Family bonds 21% · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22%: Identity 14% · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% · Purpose 9% · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% · Freedom 5%
  • Morality 16%: Justice 13% · Duty 2% · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9%
  • Survival 15%: Survival 17% · War 1% · Violence 4% · Mortality 2% · Grief 6% · Trauma 7% · Mental illness 1% · Addiction 1% · Illness and disability under 1%
  • Society 9% (this title): Community 14% (this title) · Isolation 5% (this title) · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4%
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Society

Isolation · 5% of filmsCommunity · 14% of films: Consequences reach a town, institution or group.
Satirizes its theme: Attacks its theme through ridicule.Intimate stakes: Consequences reach a person or a household.Ensemble lead
How it treats its themeThe film explores how a disparate group of people (film crew, hotel staff, hit man, call girl) are disconnected from each other and from any coherent reality.
StanceThe film mocks the pretensions of filmmaking and the absurdity of its characters, rather than taking their situations seriously.

The world

ContemporaryInstitutionalStylized realism
Orchestral modernExperimentalSupportive music · original score · Mike Figgis
SettingA hotel in Venice, Italy, during the production of a theatrical film
MusicComposed by Mike Figgis, likely blending experimental and classical elements to match the film's chaotic tone.

Content guide

Is Hotel okay for kids?

R

Hotel is rated R: “Rated R for strong sexual content, violence and language” (MPAA). As of August 31, 2026, Midcredits content scores put its violence at moderate (56/100), sexual content at severe (81/100), language at moderate (50/100), drug and alcohol content at moderate (50/100) and frightening material at intense (67/100). None has enough votes to rank yet.

Overall
Intense · all five categories
not ranked
Violence & Gore
Moderate
too few votes to rank (3 votes)
Sex & Nudity
Severe
too few votes to rank (9 votes)
Profanity
Moderate
too few votes to rank (2 votes)
Alcohol & Drugs
Moderate
too few votes to rank (2 votes)
Frightening / Intense
Intense
too few votes to rank (3 votes)

Too few votes to rank this title overall (19 votes across 5 categories; ranking needs 10 in at least three).

Source: Midcredits content scores, 0 (none) to 100 (severe) per category, with each standing ranked against other films that have them.

What content warnings does Hotel have?

Not screened for content warnings yet.

Cast and crew

Who is in Hotel?

Cast

Max Beesley
as Antonio
Fabrizio Bentivoglio
as Very Important Doctor
Brian Bovell
as Cardinal
Saffron Burrows
as Duchess of Malfi
Elisabetta Cavallotti
as Abducted Hotel Guest
Valentina Cervi
as Hotel Maid
George DiCenzo
as Boris
Andrea Di Stefano
as Assassin
Nicola Farron
as Hotel Guest
Christopher Fulford
as Steve Hawk

Crew

More like this

What are movies like Hotel?

Movies like Hotel include Timecode (2000), Pieles (2017) and Nashville (1975). Of the 9 closest matches, several are films about isolation, and most are episodic films.

Balanced: every group counts the same, and production only breaks ties.

5 of these 9 share its story type: interlocking stories. Those cards say what else they share.

Explore by

What else shares a premise, people or place with Hotel?

456 other films share the rarest tag below, kind of film: mockumentary. Each tag opens Browse with the films that share it.