Galder Gaztelu-Urrutia is the director of the 2019 Spanish social science fiction horror movie The Platform. The “Vertical Self-Management Center,” a sizable tower, serves as the setting for the movie.
A platform that is originally stocked with food on the top floor gradually lowers through the tower’s levels, halting for a set length of time on each.
Residents are rotated every 14 days between its several floors. Because each level only receives the leftovers from the previous one, the people at the highest levels get to consume as much as they like, which inevitably leads to strife.
Iván Massagué, Antonia San Juan, Zorion Eguileor, Emilio Buale Coka, and Alexandra Masangkay are among the actors who appear in the movie.
It had its world premiere at the 2019 Toronto International Film Festival (TIFF), where Midnight Madness took up the People’s Choice Award. The movie signed a global streaming agreement with Netflix during TIFF. On March 20, 2020, the streaming service made it available.
The Platform Plotline Summary
The Platform, a high-concept, one-location thriller from Netflix directed by Galder Gaztelu-Urrutia, also manages to be a thought-provoking investigation of the nature of social hierarchies, consumerism, and altruism.
In “The Platform,” Iván Massagué plays Goreng, a man who awakens on Level 48 of a massive, prison-like building where a platform floats hundreds of floors, giving the two people on each one-two minutes to stuff themselves with food before it moves down to the next level.
The Spanish-language script was written by David Desola and Pedro Rivero based on Desola’s story.
The writers of “The Platform” originally wrote it as a stage play, which is why it heavily focuses on conversation. It would be simple to miss something if you were watching it with subtitles because the words move quickly.
Grab a seat on our own moving platform as we descend from section to section here and try to make sense of this dystopian nightmare if you’re perplexed about why exactly “the panna cotta is the message” and things like that.
The film’s ending also relies on a three-act buildup of metaphor.
The Platform Cast Members
This portrays Goreng as the Christ figure once more. Later in the film, the movie quotes multiple verses from the Bible where Jesus instructs his disciples to eat his flesh, driving home this point.
But in “The Platform,” biblical allusions are only made in passing. After being set free by Miharu (Alexandra Masangkay), a feral mother searching for her lost kid, Goreng immediately reverts to barbarism, savagely stabbing and killing Trimagasi before devouring his body.
Thus, his cellmate joins him in his spiritual body and stays with him throughout his hallucinations, but it happens in a way that is definitely un-Christlike.
Imoguiri (Antonia San Juan), the same administrator who conducted Goreng’s admission interview for the Pit, will be Goreng’s next cellmate when he moves up to Level 33.
She has also offered her services in support of it, and she thinks that eventually, something must take place “that creates a spontaneous sense of solidarity” amid its warring classes.
The Platform Ending Explained
Goreng and Baharat exit at level 333, thinking they have reached the very bottom. But as the platform continues to descend, they are unaware that there are other levels below.
After being abandoned, the men encounter a girl who turns out to be Miharu, the daughter of another prisoner. In the subsequent period, Baharat succumbs to his earlier wounds and passes away, allowing Goreng to return the girl to the top.
However, he leaves the platform and goes away as the little girl is seen ascending after having a hallucination in which he saw another prisoner Trimagasi telling him that his “journey is ended.”
“In the end, I wanted it to be open to interpretation, if the strategy worked and the higher-ups even care about the individuals in the pit,” Gaztelu-Urrutia told Digital Spy. We originally recorded an alternative ending in which the girl reaches the first level, but we cut it from the final product.
I’ll leave it up to your imagination what occurs.
Despite the fact that many people think the movie emphasizes capitalism and the class system in contemporary society, Gaztelu-Urrutia said the movie doesn’t actually have a message.
The movie won’t transform the world, but it might change the spectator, in the end.
“So we don’t meddle with anyone in particular either; the only times we directly have characters represent someone are in Trimagasi and Imoguiri’s hallucinations, which stand for selfishness and altruism, respectively.
The focus of the movie is on what you would do if you suddenly found yourself in level 200 or level 48; no one is particularly good or bad in it.
The Platform Critical Response
The movie has a 79 percent approval rating based on 95 reviews, with an average rating of 7.1/10. While it occasionally feels jumbled, The Platform is an innovative and engrossing dystopian thriller, according to the site’s reviewers.
The movie has 15 reviews with a weighted average score of 73 out of 100 on Metacritic, which indicates “generally good reviews.”
“The film’s minimalist fury seems like Samuel Beckett’s pieces. Aguilera and Massague are capable of participating in a lively Waiting for Godot.
Additionally, Eguileor’s vile, charming, and occasionally sensitive portrayal feels like an audition for the role of a Bond villain or possibly the Spanish revival of Hannibal Lecter.
After experiencing a boom in popularity during the COVID-19 pandemic, the movie received fresh reviews.
It was described as “the appropriate metaphor for life in the age of the coronavirus” and “a visceral exploration of how a catastrophe may expose not only the stratification of human society but also the unchanging strands of greed inscribed into our DNA,”.
The Platform, Netflix’s most recent visual offering, has been a huge success.
The Spanish science fiction horror-thriller film, directed by Galder Gaztelu-Urrutia, is set in jail in a dystopian future.
Inmates, who live in vertically stacked cells, gaze hungrily as food falls from the ceiling, feeding the upper layers but leaving the lower tiers famished and radicalized.