The Platform Film

[Yoshi Heffernan]

Thefilm's cast includes Ivn Massagu, Antonia San Juan, Zorion Eguileor, Emilio Buale Coka and Alexandra Masangkay.[2] It premiered at the 2019 Toronto International Film Festival (TIFF), where it won the People's Choice Award for Midnight Madness.[3] At TIFF, the film also secured a worldwide streaming deal with Netflix.[4] It was released on the streaming service on March 20, 2020, to generally positive reviews from critics.

Over the first month, they become friends, but on the day of the room shuffle, they are reassigned to level 171. Expecting there to be no food, Trimagasi ties up Goreng while the latter sleeps. Trimagasi explains his plans to use Goreng's flesh to sustain them both. On the eighth day, Trimagasi begins cutting into Goreng's flesh. Miharu arrives, attacks Trimagasi, and frees Goreng, who fatally stabs Trimagasi. Encouraged by Miharu, Goreng eats Trimagasi's flesh and subsequently becomes haunted by hallucinations of Trimagasi. By the end of the month Goreng is still shown eating pieces of Trimagasi's decomposing corpse.

In the third month, Goreng awakes on level 33 with a woman named Imoguiri and her dog, Ramesses II. Imoguiri appears to know Goreng, but he does not recognize her. It is revealed that Imoguiri was the administration official who had interviewed Goreng before sending him to the pit, but claims to be unaware of its nature and volunteered after she was diagnosed with terminal cancer. Imoguiri only eats every other day, letting her dog eat on the days that she does not. She tries to convince the pair below them to also be conservative with their rations. One day, Miharu arrives injured, and Goreng and Imoguiri nurse her back to health. The following day, Imoguiri is distraught to find that Miharu has killed and eaten her dog. Goreng intervenes, breaking up a fight between the women. After Miharu leaves, Goreng mentions her child to Imoguiri, who says there are no children in the pit and Miharu came alone. She reveals that Miharu is an actress, aspiring to be the "Asian Marilyn Monroe", and that the item she brought to the pit was a ukulele. She also reveals that there are 200 levels in total. The following month, he awakes on level 202 to find that Imoguiri has hanged herself. Goreng eats her flesh to survive, plagued with hallucinations of his former cellmates.

In the fifth month, Goreng is assigned to level 6. His new cellmate, Baharat, attempts to climb to the levels above with a rope, convinced the pair above will help. The pair deceives him, making him lose his rope, and almost fall to his death. Estimating that there are 250 levels, Goreng convinces Baharat to ride the platform down with him and ration the food. Going down the first 50 levels they do not let anyone get food, arguing that they will get food the next day. They attack and seemingly kill a couple of protesters. Fellow prisoner Sr. Brambang recognizes Baharat, and berates him for being too aggressive. He gives them tips on how to conduct themselves on the rest of the way down, and convinces them to send a symbolic message to the administration by leaving a single panna cotta untouched.

Goreng dreams of Baharat telling him "the girl is the message". He awakens to find that Baharat has bled to death. The child and an injured Goreng slowly get on the platform when it arrives at their level. They descend to the bottom of a dark pit, where he once again hallucinates Trimagasi. Trimagasi tells Goreng that his journey is over, but Goreng explains to Trimagasi that he must bear the message. Trimagasi replies that "the message requires no bearer". Realizing Trimagasi is right, Goreng gets off the platform and the two walk away, watching as Miharu's daughter ascends.

The film was produced by Basque Films alongside Mr. Miyagi Films and Plataforma la pelcula AIE, with the participation of RTVE and ETB and support from ICAA, the Basque administration and ICO.[5] Shooting lasted for six weeks.[6]

Galder Gaztelu-Urrutia says the film's key message is that "humanity will have to move towards the fair distribution of wealth", with an exploration of the importance of individual initiative in driving political change that critiques both capitalism and socialism.[7] The film script is based on a theatre script by David Desola and Pedro Rivero, to which more action and physical elements were added to make it more suitable for a film.[7] "Extensive" rewriting was required to convert the unproduced theater script into a film script. The director said it was a "torturous ordeal", as the writers defended their artistic vision and did not want some of the changes to be made.[8]

The concrete prison cells were built for the production in a Red Cross facility in a port in Bilbao. The director asked for cells that looked "economical, robust, [and] impregnable", which emphasized a sense of architectural and engineering proportion.[7] Only two tiers of concrete cells were built; the appearance of many tiers of cells extending above and below each cell (visible from the hole in the center of each cell) was added in post-production using visual effects.[7] The director says the vertical tower of cells "represents the dehumanized coldness of the Vertical Self-Management Center".[8]

The director states that the film's lavish "food was treated as another character in the story, one that is aesthetically antagonistic to the architecture of the prison."[8] The luxurious displays of gourmet food were presented on "Versailles worthy tableware" to depict "excessive, almost erotic, opulent desire" that is eventually "desecrated" once the near-empty platform reaches the abject, starving inmates on the lower levels.[8]

The film uses two actors who are cast against type; Ivn Massagu and Antonia San Juan, who are known for their comedic roles, were chosen to lighten the film's weighty subject by adding "humour, irony, and surrealism".[7] The film was shot chronologically, as the main actor Ivn had to lose 12 kg (26 lbs) over the six-week shoot to show his physical deterioration.[8]

The film was released in Spain on 8 November 2019 by Festival Films.[1] The Platform was released onto Netflix internationally (including Spain) on 20 March 2020. In July 2020, Netflix revealed the film had in-fact been watched by 56 million households over its first four weeks of release, among the most-ever for one of their original films.[9]

On review aggregator Rotten Tomatoes, the film holds an approval rating of 80% based on 97 reviews, with an average rating of 7.2/10. The site's critical consensus reads: "While it may feel muddled at times, The Platform is an inventive and captivating dystopian thriller."[10] On Metacritic, the film has a weighted average score of 73 out of 100, based on 15 critics, indicating "generally favorable reviews".[11]

The film garnered new reviews after a surge in popularity during the COVID-19 pandemic. Sam Jones in The Guardian suggested it was "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."[13]

Discussions around a potential sequel took place after the film's streaming success in 2020. In May 2023, Netflix reported the beginning of filming of the sequel The Platform 2 with Galder Gaztelu-Urrutia returning as director and starring Hovik Keuchkerian and Milena Smit.[23] In July 2024, Netflix released the first trailer for the film and announced an October 4, 2024 release date.[24]

FILM PLATFORM is known globally for award-winning documentary films curated for academic audiences. Its exclusive collection of documentary films has been carefully selected from prestigious film festivals and made by the best filmmakers including many OSCAR-nominated and OSCAR-shortlisted documentaries. Masterfully produced, the films create an emotional experience for the viewer, engaging them deeply and authentically in some of the most pressing issues of our time.

For a small fee (or in some cases for nothing at all), you can upload your movie to your choice of TVOD, SVOD, or AVOD platforms and make it immediately available to millions of people. Add to the mix a creative PR campaign and some social media ads, and an ultra-low budget movie can compete with a multi-million dollar blockbuster.

By the time the film was available to stream, I had already started shooting my next feature (White Crow), so I put my organic marketing efforts on hold. I thought I would sit back and see what happened over the next couple of months, and then re-assess once I was wrapped on production.

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Noam Kroll is an award-winning Los Angeles based filmmaker, and the founder of the boutique production house, Creative Rebellion. His work can be seen at international film festivals, on network television, and in various publications across the globe. Follow Noam on Twitter, Instagram and Facebook for more content like this!

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