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DIRECTED BY: Stefan Lernous
FEATURING: Tom Vermeir, Anneke Sluiters
PLOT: The reluctant owner of a decrepit hotel deals with an incoherent nightmare of sultry guests, a sketchy pal who’s turning the ballroom into a happening nightclub, and a “sick” aunt.
WHY IT MIGHT JOIN THE APOCRYPHA: Although it may be lacking in narrative, if a movie can be honored as one of the weirdest ever made based purely on art direction, Hotel Poseidon is a shoo-in.
COMMENTS: Hotel Poseidon is where you go if you die in Hotel Earle and your soul can’t find its way to Heaven. The building looks like it’s been underwater for fifty years and has only recently surfaced: the daily mail arrives already soaked and caked in mud, electrical fires are so frequent they’ve become only a minor annoyance, and the lobby is so cavernous that at first you don’t even notice the body tucked away in the corner. The visual sensibility is dingy, dirty and grungy, and you half expect to see a strand of seaweed fall across the lens every now and then. The Hotel is the main character, while lead actor Tom Vermeir, in the role of depressive and put-upon owner Dave, acts as its sad-sack sidekick. Hotel Poseidon is a crumbling edifice waiting for a movie worthy of its magnificent setting—a movie that, unfortunately, never arrives.
Though Hotel Poseidon doesn’t have much story to tell, it does feature two exhibitions of inspired camerawork to showcase its astonishing set. The first is the opening shot, a spiraling pan around the hotel lobby which starts on a dead fish in a half-empty tank and spins around to survey the room’s clutter of decrepit knickknacks, peeling wallpaper, dying plants, malfunctioning equipment, and unattended fires, giving you a sense of the purgatorial landscape you’ll be inhabiting for the next ninety minutes. The other lasts for about four minutes, as the camera weaves through Dave’s encounters with the pasty-faced grotesques attending some sort of prom of the living dead that’s broken out in his newly-renovated ballroom, a sequence that somehow involves him winding up on an autopsy table before escaping into the elevator; it’s the capper to a succession intricately-choreographed shots that comprise the central “party” sequence, the film’s best segment (which could have been a winner as a standalone short film).
If this all sounds pretty weird to you, then you’re not wrong. Hotel Poseidon trends towards a “” tag. And, in terms of art direction and cinematography, the movie is far above normal standards. Unfortunately, it succumbs to a common ailment afflicting full-length surrealist features: a failure to provide a meaningful plot structure, thematic tissue, or characters we are capable of empathizing with. There is no real story, and the few recurring subplots—a sexy young visitor who insists on renting a room despite being told the hotel is permanently closed, Dave’s ailing aunt and her pension—-circle a clogged drain for ninety minutes before the film ends up back where it started. Hotel Poseidon is simply a long succession of unsettling scenes in a common setting, many of which work on an individual level, but fail to build upon each other, leading only to a downbeat experience that’s too one-note to support the film’s length. Hotel Poseidon is the first film venture financed by the Belgian avant-garde theater company Abbatoir Fermé, and there there is great talent involved; but the technique and atmosphere languish because the film doesn’t give us much reason to care what happens to its characters.
WHAT THE CRITICS SAY:
“…a celebration of the weird, the absurd and the surreal, constantly adding new layers of wonder, forcing its audience to sit back in submission and let the film wash over them.”–Niels Matthijs, Onderhond (festival screening)