The Hotel of My Dream Review
While creative writers’ block and analytical writers’ block are not identical, they are certainly fraternal. There is a universal struggle to put pen to paper, or, in the year 2026, finger to keyboard. Even when thoughts and ideas do make it onto the page, it often takes countless revisions before anything worth publishing sees the light of day. In Yukihiko Tsutsumi’s latest feature, The Hotel of My Dream, a struggling rookie novelist, Kayoko Nakajima, enters a writer’s retreat only to discover that her rival, Munenori Higashijujo, is also in attendance, setting off a series of comedic hijinks that are truly infectious to watch.
All of Kayoko Nakajima’s struggles as a novelist and her difficulty in developing a brilliant idea for a debut novel stem from Munenori Higashijujo, a veteran who published harsh criticism of her work after she won a newcomer award. When she discovers that her rival is not only staying at the same hotel but occupying the room directly above hers, she decides to enact revenge, enlisting the help of her editor, Michio Endo.
Comedy, like other aspects of art and culture, is subjective, but comedy is the most divisive. As someone who loves the craft and execution of dark humour, I understand that it can upset people and come across as lazy and taking easy shots at minorities. The Hotel of My Dream is the furthest from dark comedy that a similar philosophy can apply to screwball comedy, which is more what it is aiming for. It can become overbearing and verge on being cringeworthy. The Hotel of My Dream finds a perfect balance, being over the top and very melodramatic yet genuinely hilarious.
A moment where Kayoko starts to sing Stay with Me by Miki Matsubara while at a host club to genuinely be as hilarious as well as a scene where Kayoko and Munenori must team up to go after editor Michio for comments he made about them. While not every joke lands, when they do, it is genuinely funny. However, between the moments of hilarity in this film, there are moments of mutual sharpening with the novelists. When Kayoko and Munenori clash, it makes their creativity flourish and shine. With Kayoko, her work is allowed to be showcased in the limelight without Munenori pushing her down, and for Munenori, he can write like he did when he started writing novels.
The Hotel of My Dream fundamentally relies on its leads, and Non and Kenichi Takitō are immaculate as Kayoko Nakajima and Munenori Higashijujo, respectively, bringing these eccentric characters to life in a way that feels truly organic. Thanks to this authenticity, the characters become wholly believable, and you can’t help but fall in love with them and find their journeys compelling rather than overbearing.
However, not everything about this film works; the cinematography can feel flat and TV like in its presentation. Even the chapter titles, chapter cards, and soundtrack evoke the sensibility of a TV movie. This really drags the film down, as it never feels particularly theatrical or worthy of the big screen. This is especially bizarre given that Yukihiko Tsutsumi’s Hope, a film similar in scale, felt far more cinematic in its presentation.
The Hotel of My Dream is a solid comedy with a genuinely sweet core at its centre. The acting and narrative more than make up for what could be considered a flat visual presentation. It’s a truly delightful and hilarious film that is well worth watching.
★★★1/2
The Japan Foundation Touring Film Programme 2026 takes place in cinemas around the UK from 6 February to 31 March 2026 / Non, Kenichi Takitō, Kei Tanaka / Dir: Yukihiko Tsutsumi / 15
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