Title: Hotel Noir
Content:  Hotel Noir is a 2012 crime film directed and written by Sebastian Gutierrez. The film stars Carla Gugino and Rufus Sewell. The film was shot in color and processed as black and white. It was released as video on demand on October 9, 2012 in the United States. In 2016, the film was retitled City of Sin and re-released in color.
Title: Noir (film)
Content:  Noir is a Canadian drama film, directed by Yves Christian Fournier and released in 2015. An ensemble cast film set primarily in the impoverished Montreal North area, the film focuses on a variety of interconnected storylines. Characters include Dickens (Kémy St-Eloi) and Bobby (Clauter Alexandre), two Haitian Canadian brothers involved in the gang lifestyle; Kadhafi (Salim Kechiouche), an Algerian immigrant who works in a dry cleaning shop with Jean-Jacques (Benz Antoine) and dreams of becoming a hip hop star; and Suzie (Jade-Mariuka Robitaille), a stripper in a relationship with drug dealer Evans (Christopher Charles) while simultaneously connected in an ambiguous way to Phil (Patrick Hivon). Kechiouche garnered a Jutra Award nomination for Best Supporting Actor at the 18th Jutra Awards.
Title: Hotel Noir
Content: Rufus Sewell as Felix ; Malin Akerman as Swedish Mary ; Carla Gugino as Hanna Click ; Danny DeVito as Eugene Portland ; Rosario Dawson as Sevilla ; Kevin Connolly as Vance ; Robert Forster as Jim Logan ; Mandy Moore as Evangeline Lundy 
Title: Film noir
Content:  films often classified as noir include Quai des Orfèvres (1947) and Les Diaboliques (1955), both directed by Henri-Georges Clouzot. Casque d'Or (1952), Touchez pas au grisbi (1954), and Le Trou (1960) directed by Jacques Becker; and Ascenseur pour l'échafaud (1958), directed by Louis Malle. French director Jean-Pierre Melville is widely recognized for his tragic, minimalist film noirs—Bob le flambeur (1955), from the classic period, was followed by Le Doulos (1962), Le deuxième souffle (1966), Le Samouraï (1967), and Le Cercle rouge (1970). Scholar Andrew Spicer argues that British film noir evidences a greater debt to French poetic realism than to the expressionistic American mode of noir. 
Title: Film noir
Content:  producer Mark Hellinger, who had an "inside/outside" contract with Universal similar to Wanger's. Years earlier, working at Warner Bros., Hellinger had produced three films for Raoul Walsh, the proto-noirs They Drive by Night (1940), Manpower (1941) and High Sierra (1941), now regarded as a seminal work in noir's development. Walsh had no great name during his half-century as a director but his noirs White Heat (1949) and The Enforcer (1951) had A-list stars and are seen as important examples of the cycle. Other directors associated with top-of-the-bill Hollywood film noirs include Edward Dmytryk (Murder, My Sweet (1944), Crossfire (1947))—the first important noir 
Title: Hotel Noir
Content:  Los Angeles, 1958: a detective holes up in a downtown hotel awaiting killers to come get him. During the course of one night he will meet various occupants of the hotel and the truth of how he came to be in his present situation will be revealed.
Title: Film noir
Content:  While the inceptive noir, Stranger on the Third Floor, was a B picture directed by a virtual unknown, many of the film noirs still remembered were A-list productions by well-known film makers. Debuting as a director with The Maltese Falcon (1941), John Huston followed with Key Largo (1948) and The Asphalt Jungle (1950). Opinion is divided on the noir status of several Alfred Hitchcock thrillers from the era; at least four qualify by consensus: Shadow of a Doubt (1943), Notorious (1946), Strangers on a Train (1951) and The Wrong Man (1956), Otto Preminger's success with Laura (1944) made his name and helped 
Title: Film noir
Content:  of British noir from the classic period include Brighton Rock (1947), directed by John Boulting; They Made Me a Fugitive (1947), directed by Alberto Cavalcanti; The Small Back Room (1948), directed by Michael Powell and Emeric Pressburger; The October Man (1950), directed by Roy Ward Baker; and Cast a Dark Shadow (1955), directed by Lewis Gilbert. Terence Fisher directed several low-budget thrillers in a noir mode for Hammer Film Productions, including The Last Page (a.k.a. Man Bait; 1952), Stolen Face (1952), and Murder by Proxy (a.k.a. Blackout; 1954). Before leaving for France, Jules Dassin had been obliged by political pressure to shoot his last English-language film 
Title: Film noir
Content:  initiation of film noir to 1940 or any other year is "arbitrary". Expressionism-orientated filmmakers had free stylistic rein in Universal horror pictures such as Dracula (1931), The Mummy (1932)—the former photographed and the latter directed by the Berlin-trained Karl Freund—and The Black Cat (1934), directed by Austrian émigré Edgar G. Ulmer. The Universal horror film that comes closest to noir, in story and sensibility, is The Invisible Man (1933), directed by Englishman James Whale and photographed by American Arthur Edeson. Edeson later photographed The Maltese Falcon (1941), widely regarded as the first major film noir of the classic era. Josef von Sternberg was directing in Hollywood 
Title: Film noir
Content:  protagonist is a criminal (as are his most successful pursuers). Directors such as Lang, Jacques Tourneur, Robert Siodmak and Michael Curtiz brought a dramatically shadowed lighting style and a psychologically expressive approach to visual composition (mise-en-scène), with them to Hollywood, where they made some of the most famous classic noirs. By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year. Movies of his such as 20,000 Years in Sing Sing (1932) and Private Detective 62 (1933) are among the early Hollywood sound films arguably classifiable as noir—scholar Marc Vernet offers the latter as evidence that dating 

Question: Who was the director of Hotel Noir?
Answer: Sebastian Gutierrez.