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Hotel

Hotel

200476 minMidcredits score: 32nd percentile of all films
Director
Jessica Hausner
Starring
Franziska Weisz, Birgit Minichmayr, Christopher Schärf, Regina Fritsch

When Irene takes a position at a hotel deep in the woods of the Austrian Alps, she soon discovers the girl she replaced vanished without a trace.

Where to watch

Where can I watch Hotel?

As of October 24, 2026, MovieCove lists Hotel streaming on Film Movement Plus via Prime Video and to rent or buy on Prime Video.

Subscription

via Prime Video

Your rating, lists and review

Highlights

What stands out about Hotel?

Hotel earns 5 badges, led by Atmospheric and Haunting.

  • Craft and mood
  • Awards and box office

Reception

Is Hotel worth watching?

Hotel's Midcredits score is the 32nd percentile of all films, from 2.4K ratings across 2 sources. 37% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

32nd percentile

Better received than 32% of films

28th percentile among Drama32nd percentile among 2000s
Acclaim (how much people like it)33rd
Approval (how many liked it)33rd

56 /100

33rd percentile of all films

29th percentile among Drama33rd percentile among 2000s

Rating distribution

A broad spread centered near 5.6 — solid but not unanimous.

37% liked it

33rd percentile of all films

29th percentile among Drama31st percentile among 2000s
37% rated it 7–1063% rated it 1–6

Awards

0 Oscars won · 0 Oscar noms · 0 wins / 1 noms overall

Reach

How many have seen it

59th percentile

2.3K ratings across platforms

62nd percentile among Drama51st percentile among 2000s
TMDB popularity, last 15 days to Oct 26Up 36% in 30 days

Box office

Worldwide gross$5.4K

8th percentile earner in its genre.

What reviewers say

Common ground

The film is a slow, atmospheric, minimalist mystery that relies on mood and suggestion rather than conventional plot or scares.

Fans praised

  • dense atmosphere and creeping dread
  • subtle psychological horror with Lynchian dream-logic
  • strong central performance by Franziska Weisz

Detractors panned

  • nothing happens; no plot or story
  • boring with no scares or suspense
  • one-note acting and bland direction

What stands out

AtmosphereDivisive85

dense, claustrophobic, eerie mood

CinematographyDivisive80

precise, beautiful, carefully crafted shots

ActingDivisive65

lead performance praised by fans, criticized as wooden by detractors

TensionDivisive55

slowly built dread vs. no suspense at all

PacingDivisive40

slow, deliberate; boring for many

CharactersDivisive40

one-dimensional, threadbare characterization

EndingDivisive30

abrupt, ambiguous, unsatisfying for most

Plot and storyDivisive25

minimal story; no clear narrative

Preferred by

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

  • US vs non-US 2 points apart

Watch experience

What is Hotel like to watch?

Conclusions only — categories and positions, no plot detail.

Scary: browse every movie of this kind

Watch this when you want to be scared.

It takes its time and leaves you haunted. Skip it when you want things to move fast or you want every question answered.

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

What it asks of you

Patience and a taste for open questions.

What it feels like

Scary.

The answer rests on this: Moods
TenseDreadMelancholic
Heaviest: late
Register
Brooding: Heavy, inward, weather-beaten.Cold and cerebral · 4% of films: Detached and precise; keeps the viewer at arm's length.Dreamlike · 2% of films: Logic gives way to atmosphere and association.
Told as
Three-act: Setup, confrontation, resolution — the default Hollywood shape.Single location · 5% of films: Confined to essentially one place throughout.
ToneThe film plays its eerie, minimalistic material with utmost sincerity, creating a brooding and detached atmosphere without irony.
The rideThe film maintains a steady, low-level dread that peaks in the final act as Irene ventures into the woods.
StructureThe story unfolds in linear fashion, largely confined to the hotel and its surrounding woods, with a clear beginning-middle-end structure.

How it leaves you

what you carry away

Haunted.

Haunting · 14% of filmsUnsettlingThought-provoking
Why it leaves you this wayThe ambiguous ending and eerie atmosphere leave the viewer with lingering questions and a sense of unease.
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).Mystery
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% (this title): Puzzle 1% · Investigation 5% (this title) · Enigma 2%
  • No archetype 22%

Mystery: A question drives the story — who did it, what happened, what is real — until it is answered. · Investigation: A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).

7% of films fit this archetype

A loose fit — the map only half-holds this one.

Why this archetypeThe story is driven by the mystery of the previous employee's disappearance and the local witch legend, though it prioritizes atmosphere over puzzle-solving.

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% (this title) · 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% · 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 filmsIdentity · 14% of films
Observes its theme: Presents its theme neutrally, declining to judge.Intimate stakes: Consequences reach a person or a household.Single lead
How it treats its themeThe film explores the protagonist's profound isolation in a remote job and the unsettling questioning of her own identity as she resembles the missing woman.
StanceThe film observes Irene's emotional decline and isolation without passing judgment or offering clear resolution.

The world

ContemporaryInstitutionalWildernessStylized realism
Diegetic onlyBackground music · diegetic only
SettingA remote alpine hotel during the early 2000s
MusicThe soundtrack consists only of ambient sounds from the hotel, such as creaking elevator speakers and neighbors' noise, with no score.

Cast and crew

Who is in Hotel?

Cast

Franziska Weisz
as Irene
Birgit Minichmayr
as Petra
Christopher Schärf
as Erik
Regina Fritsch
as Frau Karin
Marlene Streeruwitz
as Frau Maschek
Peter Strauß
as Herr Kos
Rosa Waissnix
as Frau Liebig
Alfred Worel
as Herr Liebig
Alexander Lugonja
as Koch
Tommi Saric
as Kellner

Crew

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What are movies like Hotel?

TMDB's suggestions for movies like Hotel include The Caveman's Valentine (2001), Remember (2015) and Marama (2025).

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

678 other films share the rarest tag below, kind of film: slow cinema. Each tag opens Browse with the films that share it.