The Platform

Image from Polygon

A spiritual cousin to Ben Wheatley’s adaptation of J. G. Ballard’s novel how to write essay about my favorite food wild life conservation essay remedio casero parecido viagra sexual orientation research paper go to link follow link informative essay description enter divya bhaskar ahmedabad newspaper gujarati today generic viagra release date esl dissertation results writing service gb go to site case study of student pdf source writing a feature articleВ go site get link case study research methodology qualitative source how do i change fonts on my ipad go to link selling viagra legal uk source site night rider viagra see url High-Rise, Galder Gaztelu-Urrutia’s movie The Platform takes the concept described in the previous movie and strips it to its bare bones. Here we have not a skyscraper in which the wealthy live near or at the top while the less fortunate live on or around the bottom but something else even more sinister. The Administration, which could very well be a stand-in for the government of an undisclosed country, has created what we come to realize is a tower dug into the ground. In that hole, called the “Vertical Self-Management Center”, criminals of all shapes and sizes are kept two per floor while a huge platform filled to the brim with delicious food travels from top to bottom and then back again, stopping for a few critical minutes on each floor. In that time inmates must be able to feed themselves or risk going that day without a meal, at least until the next round of delivery. The catch to this is that the lower you are in this hole, the less food you will get.

Goreng (Iván Massagué) awakens to find himself in such a predicament on the 48th floor, his neighbor Trimagasi (Zorion Egiuileor), an older and clearly insane man who is never seen without a knife. A tentative friendship starts, but of course, in an atmosphere of survival, this is tenuous: when Goreng and Trimagasi get changed to the 171st floor, Goreng realizes what that knife’s purpose is. A struggle ensues, someone winds up on the wrong end of the knife, and director Gaztelu-Urrutia’s movie starts to reveal a darker presence within its own hole, something unbelievably cold and merciless even when in the service of “the order”.

Within the heart of The Platform is an allegory of how society has continued to treat its citizens, even the ones who serve it with commitment and pride. One character, Imoguiri (Antonia San Juan, known here for her participation in Almodovar’s All About My Mother as Agrado), the administrative officer who processed Goreng upon his entry into the hole, talks about seeing with her own eyes the abuses committed by the administration, and deciding, against her own best interests, to be of greater assistance to those jailed in this concrete hell. Goreng might be the hole’s one survivor, but Imiguiri represents a fallen angel trying to bring light to those who have been forgotten by the natural light of the Sun.

For a movie this bleak, The Platform has a wealth of gallows humor. It often finds a way to sneak in moments of the ridiculous in ways you might not grasp unless you either knew Spanish humor or had a dark streak. Even so, The Platform‘s relentless concrete wasteland begins to reveal a gradual light at the end of its tunnel. It could be that despite the meaningless of this social experiment there is a chance those caught within the hole’s teeth may have a chance at redemption. However, this is a final assessment that the director only implies, leaving us only with a slight improvement to its characters’ predicament.

The Platform is available on Netflix streaming.

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