“With the new showing on Netflix, it’s suddenly become very topical again because of the current situation,” he said. “But I remember when we were showing it at a film festival in Toronto last year, people were saying, ‘Shit! Historically speaking, this is the ideal moment to be showing a film like this because the differences between those who have the most and those who have the least have never been as great as they are now.’ And I’d say, ‘Well actually it’s always the perfect time to be screening a film like The Platform because we’ve always been living through at a time when these differences are so stark.’”īut the director, who describes himself as “basically very pessimistic about us as a species”, acknowledges that the pandemic and the film’s presence on one of the world’s largest streaming platforms have given the movie a new lease of life. Galder Gaztelu-Urrutia on set during the shooting of El Hoyo (The Platform).
“It’s an allegory about the distribution of wealth, which is a universal debate and a debate that’s been going on for as long as people have been around,” he told the Guardian. While Gaztelu-Urrutia is delighted by the film’s growing audience on Netflix, he is as surprised by its freshly minted relevance as anyone else. If they gorge themselves, they will starve those below if they try to hoard food, the temperature in their cell will rise or fall fatally.
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Those on each floor are free to decide how much they eat and how much they leave for those on the hundreds of levels beneath them. Every day, the eponymous platform, stacked with a lavish but finite supply of food and drink, descends, level by level.
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The Platform is set in a forbidding “vertical self-management centre” – a soaring series of concrete cells stacked one on top of the other, each holding two inmates. The parallels are certainly not hard to find. Today, however, many are claiming that El Hoyo – known in English as The Platform – is the perfect parable for life in the time of the coronavirus and a visceral investigation of how a crisis can expose not only the stratification of human society but also the immutable strands of selfishness coded into our DNA. W hen Galder Gaztelu-Urrutia began shooting his latest film in Bilbao almost two years ago, the Spanish director felt the themes of his low-budget, dystopian horror feature would be sufficiently universal to resonate with audiences around the world.