"There are 3 kinds of people; the ones above, the ones below, and the ones who fall."
A slab of food descends down a vertical facility. The residents above eat heartily, leaving those below starving and desperate. A rebellion is imminent.
Ivan Massagué
Goreng
Antonia San Juan
Imoguiri
Zorion Eguileor
Trimagasi
Emilio Buale
Baharat
Alexandra Masangkay
Miharu
Zihara Llana
Mali
Mario Pardo
Baharat's Friend
Algis Arlauskas
Inmate #1
Txubio Fernández de Jáuregui
Chef
A slab of food descends down a vertical facility. The residents above eat heartily, leaving those below starving and desperate. A rebellion is imminent.
A fantastic watch, will watch again, and can recommend. This is a survivalist movie, heavy with philosophy of morality. A lot of the time when I get to say anything close to that, I get to say, "but there is humor too", there is not: not traditional humor anyways. This is a dark movie filled with metaphor and cruel reality. Now while I am usually offended by reality encroaching on my escapism, that is normally when I'm trying to watch dirt humor. When to take a concept like this, the relation to reality only strengthens the movie. "Those above, and those below" is something to think about, and if that intrigues you or you're already onboard for a philosophical discussion of anti-hierarchical class society structure, or intrigue by the idea that it doesn't matter who or when someone is in the class structure: it defeats the society just by being. The production value is minimal but sufficient, and I think that is by design. It does live in the land of bad dubs, but not enough for me to fault it. Give this a shot: you might be surprised at yourself or your company.
Rate: zero This is what happens when we build a house for a door (instead of building a house and then put doors in it); An exotic, dirty and cluttered movie. Dirty but not necessarily in the visual meaning but in the cinematic meant. The director does not know what he wants to do at all, the camera angles, the frames, the compositions and everything are completely in the air, he just knows he wants to beat capitalism but he does not know how and for this purpose, which is what He does not do well, he comes to the great art of cinema and insults it with this film. A film must first become a cinematic work and then speak, first a house must be built and then several doors must be left for it, it is not possible to throw an ideology in the middle and make a film around it, of course, if it is possible to call this film, a film! Symbolism and the use of symbols are correct when the director does not shout with every dialogue and every scene that this object is a symbol! The symbol should not be completely revealed to be a symbol. If he is going to make a symbolic film, he must first know how, then put signs in his symbols, not to turn the whole film into a bunch of ridiculous symbols. From one place, the director does not even remember what his goal was and enters another phase, which he thinks is a revolution. Not only he does not understand and show the revolution, but he forces his two main characters, who are not characters at all, to beat everyone so that they can only get food to the final stage! you are kidding! How do these movements represent revolution, leftism, and helping others? They go downstairs and beat everyone, and finally they feed their ridiculous symbol (the dessert) to the child and send him down to, for example, when she returns to the top floor, the tyrants become surprised! So what? what will happen! Did the film become a leftist film? Did it promote revolution and resistance? Did it help everyone and save them? Never. In general, it can be said that "Platform" is a disgusting, ridiculous and shameless film that insults both the cinema and its audience, and there is no cinematic or ideal value in it, and in the humblest case, even a slogan.
An extremely cruel and disturbing psychological dystopian thriller. 7/10
**The Platform is a unique story that asks some deep questions but ultimately left me disappointed.** The Platform has such an intriguing concept that raises a variety of potent philosophical and moral questions and dilemmas. The film begs the question, “What if?” How would I respond in such dire and impossible circumstances? What would I do? As characters grapple with their desperate circumstances, a hero attempts to find hope by devising a plan to send a message to their captors and possibly save lives. Unfortunately, the movie doesn’t really provide any answers or assure any resolution or salvation. It just kind of ends after an hour and forty minutes of disturbing hopelessness. It probably has some deeper meaning that I missed but definitely not my kind of movie.
"The Platform" is one of those movies that sticks with you long after the credits roll. It's not your typical horror flick, though it definitely has some gruesome moments. This isn't about jump scares, it's about a terrifying concept that's surprisingly relevant to our world. The directing is brilliant. They keep the tension high throughout, and the way they use the limited space of "the pit" is incredibly claustrophobic. The cinematography is equally impressive, with some truly unsettling visuals. The acting is solid across the board, with each character adding a unique layer to the story. The script is sharp and thought-provoking. It doesn't spoon-feed you the message, forcing you to grapple with the ethical dilemmas at the heart of this dystopian society. And let's not forget the score, which is both eerie and unsettling, perfectly complementing the film's atmosphere. "The Platform" is a disturbing and unforgettable cinematic experience.
The Platform (2019) explores wealth inequality through a brutal vertical prison system, symbolizing human greed and survival instincts. Director Galder Gaztelu-Urrutia uses minimal sets enhanced by visual effects to create a dystopian environment that reflects social critique. Cannibalism and violence serve as metaphors for selfishness in a harsh hierarchical society. The story centers on Goreng’s transformation from indifference to moral awareness, driving the emotional core amid external and internal conflicts. The prison’s vague origin adds to the unsettling atmosphere, while tension escalates through psychological struggles and inmate interactions. The narrative is tightly paced with layered symbolism at every level and encounter. The film ends with a strong twist that underscores themes of solidarity and change, supported by intense performances and immersive visuals. Cinematography, sound design, and color composition reinforce the disturbing yet meaningful tone. Though some mysteries remain unresolved, the film stands as a gripping psychological thriller with a sharp social message—and for Indonesian viewers, Goreng’s name adds an amusing extra layer. Read the full review here: (Indonesian version : alunauwie.com) and (English version : uwiepuspita.com)
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