Debut director Galder Gaztelu-Urrutia’s The Platform (El Hoyo) makes no apology for its anti-capitalist stance, stark visuals and social metaphors, which in today’s coronavirus era make for very sober and self-reflective viewing. It highlights people’s greed and selfishness in desperate and restrictive circumstances and ironically revolves around food. Indeed it is highly topical, with food stockpiling from stores set against messages on social media about “being kind” and thoughtful.
Much like a cross between Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover with its lavish cooking scenes at the start that have a whiff of malaise about them with their ominous carcasses on display, the decadent and destructive nature of Ben Wheatley’s High-Rise, and the slow-burn dawning of eternal entrapment within four walls like Lenny Abrahamson’s Room and Vincenzo Natali’s Cube, The Platform is instantly designed to unsettle, before the characters have fathomed their situation.
Much like a cross between Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover with its lavish cooking scenes at the start that have a whiff of malaise about them with their ominous carcasses on display, the decadent and destructive nature of Ben Wheatley’s High-Rise, and the slow-burn dawning of eternal entrapment within four walls like Lenny Abrahamson’s Room and Vincenzo Natali’s Cube, The Platform is instantly designed to unsettle, before the characters have fathomed their situation.
- 4/4/2020
- by Lisa Giles-Keddie
- HeyUGuys.co.uk
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