Some rooms you can book. Others exist only on film.
A researched guide to on-screen hotel stays, cinematic doubles and vanished addresses. Each entry separates the place in the story from the place behind the camera.
Browse in film order. Open each dossier for the scene, location notes and image credits. Real hotel photographs and film frames are labelled separately.
CHOOSE YOUR MISSION
One film. Its room keys.
Tap a poster to filter the hotels and the world map.
The first cinematic Bond checks into Kingston—and promptly finds that his room is no sanctuary. Courtleigh Manor supplied the hotel exterior; the famous bedroom danger belongs to the film’s studio-created world.
Scene & field notes+
FILM FRAME Bond pours a drink in his Kingston hotel room in Dr. No (1962); the bedroom set is a story representation, not proof of filming inside Courtleigh Manor. Image source ↗
BEHIND THE SCENE
Courtleigh Manor was also the production’s Jamaican base. The original hotel closed in 1995 and was subsequently demolished. The business reopened at a different location in 1997, in the former Skyline Hotel: today’s Courtleigh is not the building seen in Dr. No.
Flickr upload by Valerie / CuteTeaBunny; all rights reserved. Original postcard photographer not identified. · Film image: Film copyright applies; sourced through SlashFilm,
A room sweep, a change of suite and a hidden camera: this is the hotel as an instrument of espionage. Bond’s supposedly private meeting with Tatiana becomes part of SPECTRE’s elaborate trap.
Scene & field notes+
BEHIND THE SCENE
Kristal Palas is the name in Fleming’s novel; the film does not name the hotel. The on-screen honeymoon suite is a studio setting, and no reliable evidence identifies it with the Pera Palace. The novel’s name is retained here as a familiar reference, not a verified screen sign.
After escaping the Orient Express, Bond and Tatiana finally reach a Venetian hotel. Their respite ends when Rosa Klebb enters disguised as a maid and attacks Bond with a concealed blade in her shoe. Tatiana saves him.
Scene & field notes+
BEHIND THE SCENE
The official 007 account confirms the Venetian hotel scene but does not name the property. Production histories place the room at Pinewood. Attributing it to Hotel Danieli because of the window view is an inference, not verified on-location filming.
Copyrighted film frame. Source page labels the image Maid service but provides no reuse licence or separate film-frame credit. Do not describe as public domain or Creative Commons. Film is From Russia with Love (1963), Eon/United Artists.
Goldfinger’s Miami Beach sequence takes place at the Fontainebleau. Bond meets Felix Leiter, interrupts Auric Goldfinger’s cheating at cards and later finds Jill Masterson in his room, covered in gold paint. The real hotel’s sweeping crescent façade and pool establish the setting.
Scene & field notes+
FILM FRAME Felix Leiter at the Fontainebleau in Goldfinger (1964). Image source ↗
BEHIND THE SCENE
Cec Linder’s Felix Leiter was filmed at the actual resort. Sean Connery and Gert Fröbe’s scenes were made at Pinewood with sets and back projection; the gold-painted Jill scene was also a studio interior. A real screen address does not mean the stars filmed every scene there.
Bond’s Nassau hotel is part of a Caribbean mission in which even a private bathroom becomes a place for unwelcome company. The south-coast Coral Harbour location supplied the real-world setting.
Scene & field notes+
BEHIND THE SCENE
This is not Largo’s Palmyra estate. Nor should the former filming site be confused with similarly named accommodation sold today; the original complex later became a defence-force base.
Formal service, a grand entrance and the Portuguese coast: Bond’s encounter with Tracy unfolds against one of the series’ most elegant hotels. The real Palácio plays itself.
Scene & field notes+
FILM FRAME Bond arrives at the Palácio in On Her Majesty’s Secret Service (1969). Image source ↗
BEHIND THE SCENE
The porter handing Bond his room key is a real Palácio employee: José Diogo, who was 18 when he appeared in the film. The hotel also connects Ian Fleming’s wartime visits with its history as a meeting place for intelligence officers. Its entrance, lobby and pool all appear on screen.
Bond mentions the Tropicana by name while discussing where to stay in Las Vegas. It belongs in the itinerary as a named hotel, but the dialogue alone does not prove that the spectacular suite seen later is a real Tropicana room.
Scene & field notes+
BEHIND THE SCENE
The hotel closed in April 2024; its last two towers were imploded on 9 October 2024. The Whyte House is a separate fictional hotel and has its own entry. This is a historic address, with no current guest booking.
The fictional Whyte House combines casino glamour with a villain’s command centre. Bond occupies a spectacular suite and investigates the mystery surrounding the absent Willard Whyte.
Scene & field notes+
FILM FRAME The International Hotel as the Whyte House in Diamonds Are Forever (1971), with added fictional structure. Image source ↗
BEHIND THE SCENE
The International—later the Las Vegas Hilton and now Westgate—provided the tower exterior. The Riviera supplied the casino where Bond plays alongside Plenty O’Toole. Other locations and sets complete the fictional hotel, so the screen suite is not a bookable Westgate room.
Las Vegas, United States · on screen: Whyte House09
Riviera Hotel & Casino
Diamonds Are Forever · 1971
Lost hotelSean Connery
Filming component · Whyte House casino
The Whyte House’s casino floor had a different real address from its tower. At the Riviera, Bond plays craps alongside Plenty O’Toole, turning a Las Vegas gambling scene into another piece of the fictional hotel.
Scene & field notes+
FILM FRAME Diamonds Are Forever (1971): Bond and Plenty O’Toole at the casino table, filmed at the Riviera as the fictional Whyte House casino. Image source ↗
BEHIND THE SCENE
The International Hotel, now Westgate, supplied the Whyte House exterior; the Riviera supplied this casino scene. Screenwriter Tom Mankiewicz recalled that filming in the Riviera casino was restricted to the early morning. The Riviera was demolished in 2016.
The resort provides the intimate side of Bond’s San Monique stay: the cottage, the veranda and a night with Rosie Carver. Tropical calm proves a poor defence against a snake in the bathroom.
Scene & field notes+
FILM FRAME Bond’s San Monique bungalow in Live and Let Die (1973); source gives Half Moon as general consensus. Image source ↗
BEHIND THE SCENE
Location accounts identify Cottage 10 with the bungalow scenes. Half Moon and Sans Souci both contribute to the fictional San Monique resort, so these two records describe components of one screen stay, not two different hotels in the story.
Sans Souci supplies another part of Bond’s fictional San Monique resort. Location research identifies hotel exteriors and the shop where Bond obtains tarot cards. The bungalow scenes are associated with Half Moon, elsewhere on Jamaica’s north coast.
Scene & field notes+
FILM FRAME San Monique hotel scene in Live and Let Die (1973). Source leaves precise Sans Souci/Half Moon identification uncertain. Image source ↗
BEHIND THE SCENE
The two Jamaican properties represent one composite screen resort. Sans Souci is also associated with Miss Taro’s house in Dr. No, a different screen role; that does not make it Bond’s Kingston hotel.
Bond gives the Royal Orleans as his destination in New Orleans. Today’s Omni Royal Orleans is a French Quarter landmark, placing this part of his itinerary close to the city’s courtyards and balconies.
Scene & field notes+
BEHIND THE SCENE
A named hotel in the dialogue is different evidence from a room filmed on location. The film connection is recorded by Historic Hotels of America; no claim is made that every interior is the real hotel.
Known simply as the Oriental in Bond’s itinerary, this riverside hotel is the setting for dinner with Mary Goodnight. The evening’s plans become considerably less straightforward when Andrea Anders arrives.
Scene & field notes+
FILM FRAME Bond dining on the Oriental terrace in The Man with the Golden Gun (1974). Image source ↗
BEHIND THE SCENE
The river-terrace dinner was filmed at the hotel. The Peninsula in Hong Kong is another hotel in this film, but it is Andrea’s accommodation, so it is not counted as Bond’s own stay here.
Bond and Anya Amasova arrive in Sardinia posing as a married couple. The low-slung, sculptural hotel feels like a coastal village assembled for a particularly stylish secret operation.
Scene & field notes+
FILM FRAME Bond and Anya on the Cala di Volpe steps in The Spy Who Loved Me (1977). Image source ↗
BEHIND THE SCENE
The production transformed part of the hotel’s bar into their suite. Staying at the right hotel is possible; booking the exact room seen on screen is another matter.
Bond’s Brazilian address brings grand-hotel elegance to the edge of Copacabana beach. Moonraker’s Rio interlude moves from hotel luxury to carnival crowds and the terrifying height of Sugarloaf.
Scene & field notes+
FILM FRAME Bond and Manuela in his Rio hotel suite in Moonraker (1979); story setting, not proof the interior was shot in the real hotel. Image source ↗
BEHIND THE SCENE
Copacabana Palace is identified as Bond’s Rio hotel in film-location lists. The exterior and the room seen in the film should be treated separately: this entry does not claim that the suite with Manuela was filmed inside the real hotel.
A grand Alpine hotel framed by the Dolomites becomes Bond’s base in Cortina. Its balconies offer an unusually direct connection between the building a traveller sees and the one on screen.
Scene & field notes+
FILM FRAME Bond on the Miramonti balcony in For Your Eyes Only (1981). Image source ↗
BEHIND THE SCENE
The film calls Bond’s room number 300; location research identifies the visible balcony as belonging to room 108. Interior scenes were filmed in a studio. Check directly with the hotel for current access and availability.
A fleeting Greek hotel exterior belongs to Bond and Melina’s journey. The Bellavista sign gives the stay a name, but it has not produced a dependable real-world address.
Scene & field notes+
BEHIND THE SCENE
On the tracks of 007 lists the building as an unresolved location, probably on Corfu. A modern hotel with the same name is not evidence of a match.
Bond’s Udaipur base is the curved palace beside the City Palace complex. The hotel and its pool belong to the film’s intricate world of jewels, gambling and shifting loyalties.
Scene & field notes+
FILM FRAME Bond’s backgammon game at the Shiv Niwas Palace hotel casino in Octopussy (1983). Image source ↗
BEHIND THE SCENE
Do not swap this address for the Taj Lake Palace. The latter helps portray Octopussy’s island home; Shiv Niwas is Bond’s hotel.
A Baroque palace becomes the backdrop to Bond and Kara’s Vienna escape. For a brief interval, opera, a new dress and a hotel room suggest that their journey might be a romance rather than an operation.
Scene & field notes+
FILM FRAME Film still: Bond and Kara arrive at Palais Schwarzenberg in The Living Daylights. Image source ↗
BEHIND THE SCENE
The old hotel closed in 2006. Vienna tourism development lists have since described a reconstruction project rather than an operating hotel. The link goes to the Schwarzenberg family’s property website; it is not a room-booking link.
After Vienna, Bond and Kara’s journey reaches a very different hotel overlooking the Moroccan coast. The stay is part of the film, even though its real building remains unconfirmed.
Scene & field notes+
BEHIND THE SCENE
Reelstreets leaves the location unidentified. Hotel Île de France is Pushkin’s hotel, so it cannot be substituted for Bond and Kara’s accommodation.
Mexico City, Mexico · also doubles for Isthmus City23
Gran Hotel Ciudad de México
Licence to Kill · Spectre · 1989 / 2015
Hotel doubleTimothy Dalton · Daniel Craig
Licence to Kill: check-in · Spectre: room visit
One of Bond’s great repeat performers: the ornate hotel supplies interiors for the fictional El Presidente in Licence to Kill, then becomes part of the seemingly continuous opening shot of Spectre.
Scene & field notes+
FILM FRAME Film still: Bond and Estrella approach the hotel in Spectre. The entrance is Calle de Tacuba 12. Image source ↗
BEHIND THE SCENE
Licence to Kill shows Bond and Pam checking into El Presidente in the fictional Republic of Isthmus. Spectre uses the same hotel’s elevator and interiors, with a different entrance at Calle de Tacuba 12. The Spectre scene is an operational room visit, not proof of an overnight stay.
London stands in for Russia as The Langham becomes the exterior of Bond’s Grand Hotel Europe. The palatial façade sells the illusion long before the scene turns from luxury to danger.
Scene & field notes+
FILM FRAME Film still: The Langham doubles as the Grand Hotel in St Petersburg in GoldenEye. Image source ↗
BEHIND THE SCENE
The official 007 London walking guide identifies this double. The Russian setting is part of the story; the façade you can visit is on Portland Place.
The Atlantic is a beautiful place for a terrible reunion. Bond’s stay links Paris Carver, Dr Kaufman and an escape that takes him towards the hotel’s distinctive rooftop globe.
Scene & field notes+
FILM FRAME Film still: Bond escapes from the Atlantic after his confrontation with Dr Kaufman in Tomorrow Never Dies. Image source ↗
BEHIND THE SCENE
The exterior is the real Atlantic, while Stoke Park supplied interiors. The hotel dates to 1909, when its grand-hotel identity served the world of ocean travel.
The Atlantic’s Hamburg façade leads, through the magic of editing, to interiors filmed at Stoke Park in Buckinghamshire. This is the other real address behind Bond’s room, his reunion with Paris Carver and the confrontation with Dr Kaufman.
Scene & field notes+
FILM FRAME Bond and Paris Carver in the Hotel Atlantic suite in Tomorrow Never Dies (1997), filmed inside Stoke Park. Image source ↗
BEHIND THE SCENE
It is a second filming location for the same Atlantic stay, not another hotel in Bond’s story. Stoke Park also hosted Goldfinger’s golf match, which does not establish a Goldfinger hotel stay. Its official site currently advertises golf; ordinary room availability is not assumed.
Carine06 · resized and converted to WebP · CC BY-SA 2.0 · Image licence ↗ · Film image: MovieMaps expressly credits Copyright Danjaq LLC and United Artists Corporation. Copyrighted film frame; no open reuse licence shown.
03
1999—2021
Rooms with secrets.
Old-world glamour meets a more vulnerable spy. A room can offer refuge, reveal a secret or hold a memory.
After the mission, Bond and Christmas Jones retreat to an Istanbul hotel. Their attempt at privacy becomes a visual joke when MI6 locates them with thermal imaging.
Scene & field notes+
BEHIND THE SCENE
The hotel is unnamed on screen. A location researcher matches the building in MI6’s overhead image to Seven Hills Hotel, but that does not identify the bedroom or rooftop set. The map therefore uses an approximate Istanbul story marker, not a confirmed hotel address.
Barefoot and wearing hospital clothes, Bond asks for his usual suite. The transformation from fugitive to impeccably dressed guest is one of the franchise’s best hotel entrances.
Scene & field notes+
BEHIND THE SCENE
The invented name celebrates EON’s ruby anniversary. The hotel’s apparent discretion hides an intelligence operation of its own; there is no real Rubyeon Royale to book.
Bond’s Cuban seaside hotel gives him a front-row view of Jinx emerging from the sea. The setting is actually La Caleta in Cádiz, where an elegant former bathhouse plays the hotel.
Scene & field notes+
FILM FRAME Film still: Bond enters El Gran Palacio in Die Another Day. Image source ↗
BEHIND THE SCENE
The Balneario de la Palma is a filming location, not the Cuban resort suggested by the story. Spain supplies the sea wall, beach and architectural illusion.
The Bahamas chapter lets the new Bond settle into the rituals of the role: a hotel, a card game and the acquisition of an Aston Martin DB5. The Ocean Club supplies a distinctly tropical version of 007 luxury.
Scene & field notes+
FILM FRAME Film still: Bond walking by The Ocean Club's pool in Casino Royale. Image source ↗
BEHIND THE SCENE
Known as the One&Only Ocean Club during filming, the property is now a Four Seasons resort. The address is real even though Bond’s luck at the card table is best left to the screenplay.
Karlovy Vary, Czech Republic · on screen: Montenegro31
Grandhotel Pupp
Casino Royale · 2006
Hotel doubleDaniel Craig
Shown hotel stay · filming double
The grand façade belongs to the Hotel Splendide in Bond and Vesper’s Montenegro mission. In reality, the river, the entrance and the elegant dining room are in a Czech spa town.
Scene & field notes+
FILM FRAME Film still: Bond and Vesper at Hotel Splendide's reception in Casino Royale. Image source ↗
BEHIND THE SCENE
The hotel’s restaurant appears in their late-night dinner. The nearby former Kaiserbad spa supplies the casino exterior; the hotel and Casino Royale are not one interchangeable location.
Prague, Czech Republic · on screen: Venice, Italy32
Bond & Vesper’s Venetian hotel
Casino Royale · 2006
Fictional hotelDaniel Craig
Shown hotel stay · museum doubles for lobby
A quiet Venetian room offers the fragile possibility of a life after MI6. The beauty of this interlude matters because the film is about to dismantle everything it seems to promise.
Scene & field notes+
BEHIND THE SCENE
Prague’s National Museum supplies the Venetian hotel lobby. Its real address is what appears on the map; the film does not establish a bookable Venetian hotel or prove that the bedroom was filmed in the museum.
Panama City, Panama · on screen: La Paz, Bolivia33
Andean Grand Hotel
Quantum of Solace · 2008
Fictional hotelDaniel Craig
Shown hotel stay
Bond abandons his modest cover accommodation for a much grander address with Agent Fields. Their story about teachers on sabbatical is suddenly supplemented by a lottery win.
Scene & field notes+
BEHIND THE SCENE
The elegant real building was Panama’s National Institute of Culture. Hotel Bolívar is the cheaper option Bond rejects; Hôtel Dessalines is a separate Haitian visit, not his La Paz stay.
The hotel associated with Bond’s Shanghai swim is actually beside the Thames. The adjacent health club’s glass-walled pool supplies the cool, metropolitan pause before the mission resumes.
Scene & field notes+
FILM FRAME Film still: Bond swims in the Shanghai hotel pool in Skyfall. Image source ↗
BEHIND THE SCENE
At filming, the adjacent hotel was the Four Seasons at Canary Wharf; it is now Canary Riverside Plaza, Vignette Collection. The actual pool belongs to Virgin Active Canary Riverside. It doubles for Bond’s Shanghai hotel pool, and is not a pool in Shanghai.
Moneypenny finds Bond preparing for his next encounter. The suite’s screens, lantern-like light and intimate atmosphere turn a routine shave into one of Skyfall’s most memorable quiet scenes.
Scene & field notes+
BEHIND THE SCENE
No real Macau hotel has been verified for this room. Macau’s scenes were created in the UK, and the map’s Macau pin denotes the story setting only. It is not the address of a hotel that can be booked.
Bond and Madeleine search the room Mr White returned to year after year. Behind the faded elegance lies a hidden archive, turning an old hotel into a physical map of secrets.
Scene & field notes+
FILM FRAME Film still: the entrance to L'Américain in Spectre. Image source ↗
BEHIND THE SCENE
Palais Akaaboune at 32 Rue Ben Abbou supplies the entrance and reception. The bedroom and hidden room are separate screen spaces; this private palace is not a bookable hotel called L’Américain.
Bond and Madeleine’s cave-like room looks across the ancient Sassi. For a moment, the view suggests escape from the past; by morning, the entire town becomes a chase route.
Scene & field notes+
BEHIND THE SCENE
The fictional hotel combines several locations. A temporary façade and balcony stood below Belvedere di Piazza Giovanni Pascoli; the suite is a production set. When Bond returns after the cemetery attack, the entrance belongs to the real Palazzo Viceconte. Both filming addresses appear on the map.
After the cemetery ambush, Bond races through Matera to reach Madeleine. The entrance at which he arrives belongs to Palazzo Viceconte, a real hotel on Via San Potito. It supplies another address behind their fictional Palazzo Lucareschi.
Scene & field notes+
FILM FRAME No Time to Die (2021): Bond returns to the hotel on Primo’s motorcycle after the cemetery attack; Palazzo Viceconte supplies this entrance. Image source ↗
BEHIND THE SCENE
This is the hotel entrance in the return sequence, not an identification of the cave-like bedroom. The balcony and suite were production creations. Palazzo Viceconte also confirms that some sequences were filmed inside its building, without identifying a bookable “Bond bedroom”.
Connery’s independent return adds another Bahamian hotel to the screen itinerary. The British Colonial’s waterfront setting belongs to Never Say Never Again’s Nassau adventure.
Scene & field notes+
FILM FRAME Film still: Sean Connery’s Bond at the British Colonial Hotel beach bar, Nassau. Image source ↗
BEHIND THE SCENE
This film sits outside the main EON continuity. It is included separately so a different production history is not quietly folded into the 25-film sequence.
Bond visits Holly Goodhead’s Venetian suite and discovers that she is working for the CIA. The real Danieli supplies the location for this meeting; the room belongs to Holly, so it should not be described as a confirmed check-in by Bond.
Scene & field notes+
FILM FRAME Holly Goodhead on the Hotel Danieli balcony in Moonraker (1979). Image source ↗
BEHIND THE SCENE
The Suite del Doge is identified in Moonraker location research. The earlier attribution to From Russia with Love has been removed: that film’s unnamed Venetian hotel room was filmed at Pinewood. Today the Danieli operates as a Four Seasons hotel.
Real hotelFilming double / componentLost / former hotelApproximate / unresolved
Drag to explore; use + / − to zoom. Numbered markers group nearby records. Hollow markers show approximate story or research locations, not verified hotel addresses. Use the hotel selector to reach every record, including overlapping locations.
For James Bond, a hotel is never simply somewhere to sleep. It is an observation post, a trap, a stage for seduction—and a short-lived promise that the mission can wait until morning.
There is a particular pleasure in watching Bond arrive. The journey pauses. A porter takes the luggage; a key changes hands; a door opens onto a view we would like to claim for ourselves. For a few seconds, danger has the manners to remain outside. Then the film reminds us that privacy is a luxury even 007 cannot reliably buy.
A perfect room is a perfect trap
In From Russia with Love, the hotel room is part of the operation itself. Bond checks for surveillance and changes rooms, yet the apparent intimacy of the bridal suite is still manufactured for someone else’s benefit. The recurring hotel ritual tells us something essential about the character: he appreciates comfort, but he never quite believes in safety. The guest who notices the champagne also notices the door.
That tension makes the grand hotels more than decorative scenery. Their polished surfaces intensify what happens inside them. Goldfinger’s Miami setting begins as a vision of leisure and quickly becomes a warning. The Atlantic in Hamburg turns a reunion into a confrontation. In Tangier, an old room in L’Américain is less a retreat than a locked chapter of another man’s life. The view matters; the secret behind the wall matters more.
One check-in, several countries
The great trick of Bond travel is that screen geography rarely respects a passport. The Hotel Splendide in Montenegro is the Grandhotel Pupp in the Czech Republic. GoldenEye’s Russian hotel wears the façade of The Langham in London. The pool associated with Bond’s Shanghai stay is beside the Thames. Editing gives these pieces a single address that no travel agent can quite reproduce.
Even a hotel playing itself can be a composite. In The Spy Who Loved Me, part of Cala di Volpe’s bar becomes Bond and Anya’s suite. In Tomorrow Never Dies, the Atlantic’s Hamburg exterior is paired with interiors filmed at Stoke Park in England. A traveller can stand at the right entrance and still be thousands of kilometres from the room remembered from the film.
THE ESSENTIAL DISTINCTION
A room in the story. A place on the map. Not always the same address.
From performance to refuge
Across the different Bonds, the hotel also changes emotional register. Roger Moore’s itinerary treats arrival as an art: a seaside resort, a palace, a balcony beneath the Dolomites. The scenery gives his composure something to play against. A beautiful room is an extension of the performance, even when the mission has already followed him inside.
Daniel Craig’s rooms can feel more provisional. The Ocean Club and Grandhotel Pupp still offer the pleasures of Bond travel, but the quieter hotel scenes ask whether he could ever stay somewhere without being on an assignment. Venice with Vesper and Matera with Madeleine turn the room into a possibility: perhaps the door could close on the old life. The films make that possibility moving precisely because it is so difficult to sustain.
Travel with the fiction intact
The best way to follow this itinerary is to enjoy both versions of the place. Look at the actual building, then look again through the film. Notice what was borrowed, what was invented and what has changed. The hotel does not have to preserve every carpet and curtain to hold a powerful memory of the scene.
Some addresses have disappeared. Courtleigh Manor and the Tropicana belong to the archive. Other enticing rooms never existed as accommodation at all: the Matera suite was built for the production. That is not a reason to abandon the journey. It is a reason to be precise about what you are going to see.
So consider this a guest book with annotations. It brings together the documented screen stays, explains the doubles and keeps uncertain addresses visible as uncertain. Book the real hotel if it appeals to you. Visit the location if that is what survives. And when someone promises “Bond’s exact suite”, ask the most useful question in this atlas: which part of it?
Reviewed against location research, production histories and official hotel sources. The catalogue now has 38 records, including filming components and one separately labelled Danieli encounter. That is not a count of 38 distinct stays.
Fontainebleau, Miami Beach is the Goldfinger hotel. Florida location footage and Pinewood scenes are distinguished.
Unidentified buildings, former hotels and production sets carry explicit labels. A fictional room is never presented as a confirmed booking address.
Film-by-film completeness check 25 EON films + 1 independent film
Coverage follows the screen-stay scope below. Links lead to dossiers and their evidence; omissions are explained instead of silently counted as hotels.
This atlas covers researched hotel accommodation shown or named for Bond in the 25 EON films from Dr. No to No Time to Die, with a separate Never Say Never Again entry. It is not a catalogue of the novels, games or the 1967 spoof. The core list includes a check-in, an identified hotel base, a shown private hotel room or named accommodation. It does not require a shot of Bond asleep. A brief visit to someone else’s room is not automatically his stay; the related Danieli encounter is explicitly separated.
One fictional hotel can have multiple real locations, and one property can appear in several films. Entry totals therefore count catalogue records, not nights, distinct fictional hotels or a certified exhaustive total. Unnamed rooms and disputed real-world matches are identified as such.
The places that are easy to miscount
The Peninsula, Hong Kong
Andrea Anders’s hotel in The Man with the Golden Gun. Bond visits her there.
Taj Lake Palace & Jag Mandir
Octopussy’s residence. Shiv Niwas is Bond’s own hotel in Udaipur.
New Otani, Tokyo
Osato headquarters in You Only Live Twice. Bond’s claim to be staying at the Tokyo Hilton is cover dialogue, not a verified filmed check-in.
ESO Residencia, Chile
The Perla de las Dunas in Quantum of Solace: a raid and the climax, not Bond’s overnight accommodation.
Hotel Bolívar & Hôtel Dessalines
The former is rejected; the latter is visited while tracking Slate. The Andean Grand is the La Paz stay.
Private houses, palaces & clinics
Zorin’s château, Elektra’s estate, Piz Gloria and similar lodgings are not guest hotels in their screen roles.
Photographs show their source’s published view, not necessarily the hotel as it looks today. Film stills and comparison images are used to identify and discuss individual scenes; rights remain with their respective owners. Source links and available credits accompany the images. This independent editorial guide has no affiliation with the franchise or the hotels and contains no affiliate booking links.
CONTENT AUDIT · 21 SEPTEMBER 2026 Hotel names, ownership and availability can change. Official links are provided for current information.
CONTACT
A tip. A correction. A new room key.
Know a hotel we have missed? Have a location correction or a question about this atlas? We would love to hear from you.
For a correction, include the film, the hotel and a link to your source.
ARCHIVE PHOTOGRAPHImage source ↗
