The first thing you notice in the trailer for The Souffleur is the way the hotel's pipes gurgle—like the building itself is sighing, or maybe whimpering. Then there's Willem Dafoe, his face etched with the kind of paranoia that feels less like acting and more like a man losing his mind over something he can't control. This isn't just another drama about corporate greed; it's a fever dream about what happens when a lifetime of care collides with the cold logic of “progress.”
Magnify dropped the first look at Gastón Solnicki's latest film last week, and if the teaser is any indication, The Souffleur is going to be a slow-burn gut punch. Set in Vienna's iconic InterContinental Hotel—where Lucius Glantz (Dafoe) has spent thirty years managing every detail, from the room service to the legendary soufflé recipe—he discovers the building is being sold to an Argentine developer hell-bent on demolishing it. What follows is a crusade of detours, espionage, and a paranoid struggle to preserve a vanishing world—one where clocks spin out of sync, pipes clog, and soufflés refuse to rise. It's like The Shining meets Amélie, but with more existential dread and fewer talking animals.
Solnicki, the Argentinian director behind cult favorites like Süden and Papirosen, has a knack for blending kitchen-sink drama with absurdist flourishes—and The Souffleur looks like his most ambitious work yet. The trailer hints at a tension between Lucius's desire to protect his legacy and the无情 (merciless) march of capitalism: “It's not just a question of cultural heritage,” someone says, “it's a question of money, of greed, of destroying the cultural fabric of the community.” Sound familiar? Yeah, but Solnicki's touch makes it feel fresh—like he's digging into the soul of what we lose when we prioritize profit over people.
Dafoe, as always, is a master of subtlety. There's no shouting, no dramatic monologues—just a quiet fury that builds as Lucius's world unravels. He's helped by a solid supporting cast: Lilly Lindner as his daughter, Stephanie Argerich as a loyal employee, and even Solnicki himself in a small role (typical of his collaborative style). The real star, though? The hotel. Solnicki reportedly spent months researching Viennese hospitality, and it shows—every frame feels lived-in, from the dusty chandeliers to the worn-out carpets. Even the soufflé recipe was developed with a local chef, adding a layer of authenticity that elevates the symbolism.
The Souffleur premiered at the 2025 Venice Film Festival in the Orizzonti section—a lineup known for bold, boundary-pushing work—and the early buzz is cautiously optimistic. Critics praised Dafoe's performance (“He makes silence speak louder than any line”) and Solnicki's ability to turn a simple story into something mythic. No U.S. release date is set yet, but if the trailer is any indication, this is one to watch—if only to see how far Lucius will go to save his soufflés.
5 Things to Know About The Souffleur
- The Hotel as Character: Every creak, every gurgle, every spinning clock is a symptom of Lucius's unraveling. The building isn't just a setting—it's a co-star.
- Dafoe's Quiet Fury: No over-the-top theatrics here. His Lucius is a man whose calm facade cracks slowly, making his descent into paranoia all the more terrifying.
- Solnicki's Absurdist Touches: From the soufflés refusing to rise to the pipes clogging, the small details symbolize larger themes of impermanence—without feeling preachy.
- Venice's Orizzonti Fit: The section is known for experimental dramas, and The Souffleur's blend of realism and surrealism fits right in.
- Legacy vs. Greed: The central conflict taps into our fear of losing what we hold dear—whether it's a job, a place, or a recipe. It's relatable, even if you've never managed a hotel.
Want to see more? Check out the trailer here. And keep an eye out for updates—this one's worth waiting for.
