Two Actors, One Room, and a Camera

Can a one-night-stand truly turn into a profound, honest relationship? This tough question is examined in 28 Hotel Rooms, a film that explores a long-distance affair that starts with a night of casual sex and grows into deep emotional involvement over a number of years.  Written and directed by longtime actor Matt Ross, 28 Hotel Rooms proves to be a rare accomplishment: the near-perfect blend of comedy and drama within a single love story.

Sometimes all you need is two actors, one room, and one camera. In this classic but perceptive love story, Ross gives 28-one night raw and candid glimpses into an evolving relationship. Opening with two strangers both in town on business trips in their first (and what they think is their last) fling, we see little more than sexual desire between the unnamed man (Chris Messina) and woman (Marin Ireland). After their night of passion over, he gives her his number to which she hastily responds, “I’m not going to call you.” But as the next hotel room number tells, she indeed gives the mystery man a call; and so begins perhaps the truest relationship of their lives. The personal story grows with the dilemma that they are both in other relationships; we even witness Ireland’s character getting married and having a child all while continuing her outside love affair with Messina. Their relationship deepens as the storyline progresses, enrapturing the audience with two simple unanswered questions: do they intend to be together outside of the hotel room, and how long can they put off making that decision?

Hotel Rooms is enriched by Ross' ability to go against the grain, beginning with the characters: She is a no-nonsense corporate accountant; he is a free-spirited novelist. He is outspoken; she is guarded. As the witty and charming novelist, Messina is a perceptive and decent guy. Ireland's expressive eyes and cautious, glowing smile convey a warm beauty. Yet, like her lover, she hardens when confronted with the realization that she can't leave her husband and child. Ultimately and appropriately there is no pat ending or answer to this tough but delicate story and Ross is careful not to judge these people by demonizing their actions. And when she and him aren’t judging themselves, he’s making her laugh, and she’s making him think, as though their relationship was something much more that just a simple affair.

What sets this movie apart from other typical love stories is the fact that the characters’ lives outside of the affair are never shown, allowing the audience to feel guitless while rooting for the two of them to end up together. Some may object to the film’s seemingly microscopic viewpoint in which we learn almost nothing about these two people except from what they tell each other. But Ross’s clever approach creates suspense within the audience, making us voyeurs into their relationship while still withholding critical information about the characters. This unique and daring directorial technique, coupled with the stellar performances of Messina and Ireland, are what sets this romantic film apart from and above other typical love stories.

The quality of the acting on display here is brilliant; it’s easy to assume the chemistry Messina and Ireland achieve on screen is the result of actors simply playing versions of themselves. It’s hard to remember that these humans on screen, interacting so raw with each other, are performing. The film is almost claustrophobic and, even when the audience knows the affair should end, each time Messina and Ireland are back on screen together, the chemistry and pull that they themselves cannot seem to break away from has us falling right back into bed with them as well.

Behind the cameras, Ross never shies from what’s happening. His cinematographer, Doug Emmett, composes beautiful, full frames, both far away and brutally close. In this world of hotel rooms and passionate night-long romances, there’s little room for middle ground. When these two fight, we see the sweat on their foreheads, the bulging veins in their temples, and the fire in their eyes. Then we’re shown the room full on, which seems small and lonely, almost too spacious for the audience to bear. It seems that Ross can do more with hallway shots than other cameramen do with entire films.

            If the audience feels a bit of repetitiveness on occasion, it’s only because 28 Hotel Rooms feels quite realistic in portraying the ebb and flow of an affair initially based around excitement and freedom that moves towards a unbreakable connection. Those who see the world in black and white won’t be pleased with Ross’ non-judgmental treatment toward his characters’ illicit affair, but 28 Hotel Rooms is nonetheless incredibly moving in its depiction of the challenges of making true love last – even if it’s a love that’s a betrayal of others. Overall, 28 Hotel Rooms is a clever, insightful examination of how every love affair eventually comes with strings attached.

Cast and Credits:

Marin Ireland, Chris Messina

OneZero Films Productions presents film written and directed by Matt Ross. Running time: 82 minutes.