The camera is placed in the foyer of the eponymous hotel, the lens turned 　　towards the door. Pulling a suitcase on wheels, instead of a clear, distinct figure, 　　a hazy shadow crosses the threshold. It could almost be the start of a film noir or 　　a tribute to Chantal Akerman’s Hotel Monterey. Or perhaps a bit of both: it’s the 　　beginning of a very idiosyncratic interview with an ico...