Review of The Platform
midlandsmovies • April 30, 2020
Review of The Platform
The Platform (2020) Dir. Galder Gaztelu-Urrutia
From being trapped in an abusive household (The Invisible Man), to stuck in suburbia (Vivarium) to the rigid trappings of social hierarchy (Parasite) and the frustrating confined space seen in The Lighthouse, 2020 films seem to have predicted some of the real world angst caused by the current Coronavirus situation.
And with this year of lockdown films, new Spanish sci-fi The Platform arrives which tells the story of a man awakening in a ‘vertical’ prison with scarce access to food. Sound familiar?
In this construction, a table filled with gluttonous food gradually descends through the rooms, with the inmates randomly switching floors placing them at different points during their stay. And with those at the top taking first pickings, this leaves just scraps to those in cells at the bottom of the shaft.
Iván Massagué plays a dishevelled man called Goreng who arrives in his bare concrete abode with an older gent called Trimagasi (Zorion Eguileor) who explains the routine of this mysterious jail. As food comes down to their level, they get a predetermined time to eat what they can (or whatever is left over) before it makes it way further down to others.
A unique set up, the bare cells allow an audience to focus on the themes the film raises as well as the interesting and nuanced performances by the actors and their often feisty interactions with each other.
One day a bloodied woman arrives on the table who heads downwards looking for a child that may or may not exist. Whilst at the same time Goreng is held hostage by his cell mate who plans to eat his flesh as they end up on a low floor with barely any food to eat.
As they can converse with prisoners directly above and below them, Goreng pleads with others to ration more food out for those below as the inmates turn to desperate measures to survive.
From flesh eating and violent outbursts to bloody confrontations, The Platform may make your stomach churn at times. But that is not to say its gratuitous. Dealing as it does with poverty, wealth and societal structures, the shocking imagery serves to highlight the film’s deeper meanings.
Descending lower and lower into the depths of the prison, Goreng plans to send a symbolic message to those above in “control” and the film staunchly sticks to its sombre message of exploitation and ill treatment.
The brutalist but simple architecture of the set is somewhat reminiscent of a time long gone but its subject matter is so relevant today that its exploration of haves and have-nots feels suitably important.
However, The Platform provides this message in an extremely entertaining way. As although difficult to watch at times, this high-concept film provides engrossing dark drama, excellent acting throughout and fantastic production design. And these cinematic qualities are all tremendous as a cohesive whole, thus encouraging audiences to contemplate its ideas that unravel through its engaging narrative.
★★★★ ½
Michael Sales
On Sunday 26th April Midlands Movies Editor Michael Sales & awards ceremony co-host Ed Stagg (BBC Radio) announced the nominations for the 2026 Midlands Movies Awards live from the Queen of Bradgate Vintage Cinema in Leicester. A big thanks was given to the entire Jury Panel of industry experts who gave up their precious time to watch a huge selection of creative projects and as always, had a difficult time choosing from the excellent number of films from the region. You can read the full list of nominations across all 16 categories below and watch our announcement videos here: Part 1 & Part 2 And please also check out our great awards partner Chrome Video Best Actress in a Leading Role Karendip Phull for Family Kate Bracken for The Lace Rachel Baker for Throwing Fruit Chloe Wade for How Long Sophie Bullock for Ma Prison Best Animated Film Of All the Things by Steff Lee Big Red by James Pyle Statue in the Garden by Qianhui Yu Butterfly by Jacob Christie Best Director Luke Worrall for The Waterline Lily Portman for Quiet Jack Richardson for Daniel’s Room Jonathan Hawes for Sorry We’re Closed Sophia Dall'Aglio for Man from Mars Best Documentary Nothing's Impossible by Jacob Thomas McClean A Birmingham Symphony by Jemma Saunders We Bring Light: Leicester's Diwali Legacy by Kieran Vyas The Sunshine Café by Jill Lampert Through the Viewfinder by William North Best Sound (Editing or Mixing) Neil Evans & his team for Artificial Insanity Alasdair Gretton for Dead on Distribution Deepanjali Patel for Earworm David Hamilton-Smith for The Pause Heidi Wilson for Of All The Things Best Actor in a Supporting Role Devon Junior for Lazar Tim Sparrow for Safety Net Shaiek Ahmed Rana for Family Luke Rollason for Quiet Peter Willoughby for A Story of Spring Best Visual & Special Effects Jake Wesley-Worrall for Soul Trader Steve Askey & team for The Correction Unit Nick Willett, Matt Burkey & Jayne Hyman for Black Goat JaqD SFX MUA, Mind Magic Studios and Ben Harker for Beyond the Witching Hour Pete Key, Jai Blanks and Jacob Christie for Countenance Best Cinematography Gary Rogers for The Pause Laurence Mason-Guetta for Sorry We’re Closed Ian Snape for Soul Trader Ash Connaughton for Daniel’s Room Duane Adamoli for Surfing (nominations continue below...)
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