Note: As it was originally written for Flixchatter, this review is formatted differently from most of my work.
A Swedish film written and directed by Lisa Langseth,Hotell follows Erika (Alica Vikander), a beautiful and pregnant young woman with an almost idyllic life. Already moneyed and apparently successful, she and her husband, Oskar (Simon J. Berger), have a plan for including an infant in their lives, one that begins with a pre-arranged Caesarean Section.
But their plan falls apart when their son’s birth goes horribly wrong, a fact that mandates the couple adjust. Oskar manages well enough. Erika does not, instead slipping into deep depression, because of which she joins a support group that includes Rickard (David Dencik), Pernilla (Anna Bjelkerud), Anna-Sofi (Mira Eklund) and Peter (Henrik Norlen). Each of Erika’s new friends are, in their own way, ill, and, like Erika, tired of feeling conflicted, so when she proposes an unconventional plan to collectively escape their lives, for an indeterminate duration of time, they accept. Along they way, they informally try to help one another.
Hotell has many merits. First, and most notably, Langseth portrays mental illness exceptionally well, never playing it for laughs or forced sympathy, but rather showing its complexity and potentially debilitating consequences with acute empathy. It might be the best such portrayal I have ever seen, in any motion picture or television show.
Moreover, Erika and Rickard are complex, vibrant characters. Oskar could be one, as well, if he had received more focus. Plus, all of the performances are top-notch, especially Alicia Vikander’s. Her every expression shows a veneer of reserve and composure, but also underlying vulnerability mixed with grief and guilt, facts that are praiseworthy enough, but become all the more so when considering Vikander’s two most explosive scenes. She is award-worthy good. Mira Eklund, who plays Anna-Sofi perfectly, is almost her equal.
Yet, despite its many merits Hotell is not as emotionally moving as it could have been, largely because Langseth doesn’t develop her secondary characters well. Oskar all but disappears for most of the movie’s last three acts, and Peter, Pernilla and Anna-Sofi are too simplistically drawn. Just as their illnesses are not given enough attention.
It is doubly disappointing, because Langseth daringly bucks genre expectations. Here the therapy group is not particularly good for each other, and none of them are necessarily ‘cured,’ facts that help solidify Hotell’s themes. And would have done so even more powerfully if some of the characters had been better developed.