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Director Kitty Green’s sophomore feature, “The Royal Hotel,” skillfully explores the darker facets of masculinity against the backdrop of a remote outback setting and excessive alcohol consumption. The film, inspired by Pete Gleeson’s documentary “Hotel Coolgardie,” maintains a relentless tension while refraining from fully unleashing horror, offering a unique perspective through its distinct feminine lens.
Julia Garner, reprising her role from Green’s compelling debut, delivers a phenomenal performance as Hanna. Alongside her friend Liv, played by Jessica Henwick, they navigate the challenges of a workplace where the power imbalance can easily escalate into sexual exploitation or violence. The narrative unfolds as the carefree backpackers find themselves at The Royal Hotel, a faded outpost catering to a sparse mining community.
Drawing inspiration from real-life situations depicted in “Hotel Coolgardie,” co-writer Oscar Redding collaborates with Green to portray the risky dynamics between young women and the devoted regulars in a mining town pub. The film tackles the troubling assumption that a woman behind the bar implies something beyond serving beer, showcasing the intentions and dangers posed by younger men, skillfully portrayed by Toby Wallace and Daniel Henshall.
Green’s focused storytelling narrows the lens on the escalating tension, with Hugo Weaving’s amusing drunken tavern keeper providing intermittent tonal shifts. The film emphasizes the increasing restraint of Hanna to cater to fragile male egos, serving as a powerful comeback to Garner’s previous assistant character.
Green’s mastery lies in configuring cinematic space to amplify the inherent peril surrounding Hanna, capturing her hyper-vigilant perspective shaped by real threats and past traumas. While the film flirts with genre elements, it refrains from delving fully into horror or thriller territory, using these aesthetics to convey a broader social message.
Despite a somewhat subtle ending, the combination of Garner and Green proves to be a potent force, delivering a sharp reproach to normalized workplace misogyny in “The Royal Hotel.”
The Royal Hotel is in cinemas nows.
Neill Frazer
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