The mood is heated. Demonstrations are taking place across France, also in front of the Paris hotel where an Italian named Giorgio is booking the bridal suite for him and his boyfriend Antonio. Hotel manager Diana doesn’t trust them and calls the police to get rid of the odd couple. Italians? Homosexuals? Criminals? In the charged atmosphere of the Hotel Occidental, little is needed for initial suspicions to be aroused. While street battles rage outside and a politician tries to play down the situation in a TV interview, everyone inside attempts to turn things to their own advantage. This leads to faith in the security camera, absurd dialogues and mad conclusions, fainting spells and an explosive showdown complete with fervent gestures. The music provides the suspense, aside from the schmaltzy Italian love song. Art prints comment on the action, referencing the history of civilisation from Napoleon’s military campaigns to Warhol’s banana. The 70s look of the lobby, which evokes the set of a boulevard play, turns out to be the setting for a comedy shaped by the current social climate. Everything is fake here, including love. Or is it?
73’ · Colour
Idir Chender (Antonio)Anna Ivacheff (Diana)Paul Hamy (Giorgio)Louise Orry-Diquero (Romy)Hamza Meziani (Khaled)Brahim Tekfa (Karim)
Born in Paris in 1985. He studied at the École Nationale Supérieure des Beaux-Arts and the École Nationale Supérieure des Arts Décoratifs, both in Paris; at California Institute of the Arts in Valencia; Cooper Union in New York; and at Fresnoy – Studio National des Arts Contemporains in Tourcoing, France. Neïl Beloufa lives in Paris and New York, where he works as an artist and director. His works have been displayed in museums, galleries, and art exhibitions around the world.Filmography
2007 Kempinski; 14 min. 2010 Brune Renault; 18 min. · Sans titre; 15 min. 2012 World Domination; 28 min. · Real Estate; 11 min. · Party Island; 8 min. 2013 Tonight and the People; 80 min. 2014 Desire for Data; 48 min. 2017 Occidental
Bio- & filmography as of Berlinale 2017