The Royal Hotel is now playing in theaters. This review is part of our coverage of the 2023 BFI London Film Festival.

Empowering Women in The Royal Hotel

There’s plenty to admire about men. They can reach high shelves, they can be considerate and smell good, and even famous directors like Martin Scorsese seem pleasant. However, after watching The Royal Hotel, one can’t help but desire to gather all the women worldwide and devise a plan to colonize Mars.

A Bold and Unflinching Follow-Up to The Assistant

Director Kitty Green, known for her remarkable work on The Assistant, which offered a gripping portrayal of the daily life of a woman working for an abusive movie producer, returns with The Royal Hotel. Loosely based on Peter Gleeson’s documentary Hotel Coolgardie, the film explores the horrific experiences of two women, Hanna (Julia Garner) and Liv (Jessica Henwick), who find themselves stranded in the Australian Outback during a backpacking trip.

A Harrowing Journey Begins

Hanna and Liv, best friends from Canada seeking refuge from a past trauma, start their adventure partying on a yacht in Sydney. However, their excitement is short-lived when they face financial difficulties. Desperate to earn quick cash, they take up a bartending job at The Royal Hotel, a remote pub in a mining town. Cut off from the world with no phone signal, WiFi, or proper amenities, they are also warned about the “male attention” they should expect.

Exploring Masculinity and the Dark Side of Isolation

Stories of misfortune and danger in the Australian Outback have been a captivating subgenre in the world of film, including classics like Mad Max and Wolf Creek. The Royal Hotel echoes the themes of 1971’s Wake In Fright, where a male protagonist finds himself trapped in an isolated location and succumbs to the destructive nature of toxic masculinity and excessive alcohol consumption.

What sets The Royal Hotel apart is its female protagonists and the constant threat of sexual violence that hangs in the air. The film explores two distinct choices made by Hanna and Liv, with Hanna holding onto her boundaries while Liv naively embraces the dangerous environment in an attempt to adapt. As they arrive at the hotel, they witness the departing British bartenders indulging in reckless debauchery, cheered on by the locals. While Liv jokes about their future in the same state, Hanna watches in horror as the Brits engage in unsavory activities.

The Monsters Among Us

Throughout their time at the pub, under the management of the intoxicated owner Billy (Hugo Weaving) and his partner Carol (Ursula Yovich), Hanna and Liv encounter various types of men. Some are outright sociopaths, while others are pitiful and wounded souls. However, the most repugnant are the well-meaning “nice guys,” who often prove to be the most dangerous. Surrounded by monsters, trapped in a vortex of misogynistic behavior, the protagonists find no kindness from strangers.

A Masterful Nightmare

The Royal Hotel allows Kitty Green to showcase her talents for suspense and composition to a greater extent than in The Assistant. With stunning landscapes and captivating cinematic moments, Green manages to terrify viewers with scenes that induce nauseating dread. The film reaches its climax with explicit warfare, culminating in a haunting final shot that resonates long after the credits roll.

While colonization of Mars might be a distant dream for womankind, The Royal Hotel serves as a compelling reminder of the need for progress in empowering women and ensuring their safety in the present.