In the shortfilm Hotel existentialism meets sensuality: The Superintendent invites four Trainees into the privacy of the Hotel, where they are led through a series of lessons. Each room in the Hotel has a unique function relating to an Easy-to-Believe system. A hierarchy exists between staff members according to their experience, knowledge and social class. The staff consists of: The Bellboy, The Superintendent and The Hotel Owner. When the four Trainees enter the Hotel searching for fame, they must undergo a series of theoretical and practical exercises, absurd physical and mental lessons, reminiscent of body art, administered by the Bellboy, the Superintendent and the Hotel Owner. Each Trainee is assessed according to his or her performance and willingness to submit to the Easy-to-Believe system. The Hotel and its apparatus raises the question of a subculture’s limitations and, in contrast, the infinite territory of their “Inner space, it is a wonder!” Hotel’s visual presentation is synonymous with Hollywood era filmmaking. The bizarre narrative finds contrast by the originality of dialogue and the sensuality of absurd actions. Consequently, the seemingly ordinary shortfilm maneuvers into one of a live performance, captured on video. The setting of Hotel, as a semi private, semi public and semi personal space, becomes a metaphor for our culture: a society run by service, filled with competition and commercial interest. Beneath its surface: a lack of identity, individualism and motif. By creating a set of “personae” who fully commit to this system, I enfold a comparison to emotions, psychological mechanisms and authorities in our own culture and education; thereby probing beneath the surface of human interaction. Driven by romantic motif, I attempt to break down complex situations into experiences that are at once absurd and transparent, while mirroring the contradictions of our time and our basic human necessities.