This thesis discusses the representation of East-Central Europe in Wes Anderson’s film The Grand Budapest Hotel (2014). Through the discussion of concepts such as representation, discourse, and intertextuality, the thesis aims to establish how the concept of East-Central Europe is reflected in Anderson’s film and what the implications of these representations are. The thesis not only takes a closer look at the conceptualization of East-Central Europe and the film itself, but also discusses the influence of the intertextual presence of Austrian author Stefan Zweig on the representations that are presented in the film .The main method of analysis that is applied in the thesis is social semiotics, and the analysis will focus on two main categories, namely historical representations and geographical representations. The film analysis in this thesis illustrates that The Grand Budapest Hotel in many ways reflects the ideas of East and Central Europe that have been present in Western culture since the enlightenment. The film, for example, portrays the region as an in-between zone between East and West. Moreover, the romantic idea of a peaceful multicultural society, which originates from the nostalgic ideas surrounding the pre-war Habsburg empire and which are also expressed by the Austrian author Stefan Zweig, are also present in both the film’s narrative, its production design, and Anderson’s cinematographic approach to the film. However, the thesis also illustrates that Anderson has clearly researched East-Central Europe, and, as a result of that, makes allusions to real East-Central European history and geography in the film. To a certain extent, the film thus contributes to sustaining a Western dominated interpretation, or myth, of East-Central Europe, and the film therefore does not necessary show an accurate representation of the region on a historical and geographical level, but still allows the viewer to identify the represented geographical area as East-Central European.