The Platform (2019) - News Poster

(2019)

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The Platform – Review

The Platform – Review
Review by Stephen Tronicek

The Platform, released on Netflix into this harsh climate of ours, starts with a premise so fiendishly simple all screenwriters worth their salt (including myself) should be kicking themselves. Goreng (Ivan Massagué), a man looking to obtain a quick academic document, wakes up in “the hole,” a prison/indentured servitude area. It is set up vertically. The hole in the middle of the room reveals an endless chasm of other rooms. Each day, a platform lowers down carrying a tray of food. The problem? Every level above Goreng has already gotten to eat off of it first. That’s a smart idea. It’s visually interesting and the metaphor is easy to grasp. If there’s a finite amount of food, what’s to stop the people above you from getting to it first?

But better ideas have been squandered. Built as a “contained-thriller,” The Platform
See full article at WeAreMovieGeeks.com »

Netflix’s Awesome New Horror Movie Has The Internet Freaking Out

Netflix’s Awesome New Horror Movie Has The Internet Freaking Out
Coronavirus has brought the world to a standstill in recent weeks.

Almost all flights are grounded, borders are closing and in an effort to mitigate the loss of ticket sales, tons of studios are now rushing their recent releases to digital, so that audiences can enjoy them from the comfort – and safety – of their own homes.

Earlier this week, for instance, Universal brought The Invisible Man and The Hunt to VOD platforms – while we also know that Vin Diesel actioner Bloodshot will hit digital on March 24th, and Sonic the Hedgehog and Bad Boys for Life will follow on March 31st.

Yes, the virus has totally upended the very concept of ‘normal life’ for tons of people and with governments around the world pleading with folks to stay indoors and self-isolate, many have begun to turn towards Netflix to save them. Thankfully, the streaming giant has been keeping everyone entertained
See full article at We Got This Covered »

‘The Platform’ Review: Netflix Horror Movie Flips ‘Cube’ Into Cannibalistic Allegory for Capitalism

‘The Platform’ Review: Netflix Horror Movie Flips ‘Cube’ Into Cannibalistic Allegory for Capitalism
. Galder Gaztelu-Urrutia’s “The Platform” is not a subtle film. But these are unsubtle times, with unsubtle problems, and the most alarming thing about this grimly affecting Spanish allegory — which literalizes capitalism’s dehumanizing verticality with twice the gross-out terror of “Parasite,” and almost half of that masterpiece’s furious grace — is that it sometimes doesn’t seem like an allegory at all.

Like “Cube,” “Saw,” and even “The Exterminating Angel” before it, “The Platform” is the sort of (largely) single-location horror movie that’s defined by its premise. Somewhere in the not-so-distant-future — or perhaps a Camus-esque alternate version of now — hundreds of people are trapped in a narrow cement skyscraper that has more levels than any of the prisoners housed there could ever hope to count. The company that owns the place has branded it a “Vertical Self-Management Center,” but its occupants refer to it only as “The Pit,
See full article at Indiewire »

The Platform Trailer: Tiff Midnight Madness Winner Comes to Netflix this Month

The Platform Trailer: Tiff Midnight Madness Winner Comes to Netflix this Month
If you were looking for a bit more of a genre bite with High-Rise, look no further than Galder Gaztelu-Urrutia’s acclaimed debut horror feature The Platform. The People’s Choice winner at Tiff Midnight Madness last year, the film is set in a future dystopia as prisoners are housed in stacked cells as food descends from the upper tiers of life. Netflix picked up the film for their, ahem, platform and now will give it a release in less than two weeks.

Ed Frankl said in our Sitges review, ‘There are three types of people, according to the opening lines of The Platform: those at the top, those at the bottom, and those who fall between them. That class-structure conceit forms the backbone of this ingenious Spanish horror that won the Midnight Madness sidebar at this year’s Toronto Film Festival, a twisted fantasy that aims high with socio-political
See full article at The Film Stage »

Trailer for ‘The Platform’ – a new Netflix film set inside a vertical prison!

Trailer for ‘The Platform’ – a new Netflix film set inside a vertical prison!
Netflix/YouTube

We’ve managed to get our hands on the trailer for an upcoming Netflix film The Platform, a movie set within the walls of a vertical prison where inmates are assigned to a level and forced to ration food from a platform that moves between the floors. Enough, we’re in.

The Spanish-language satirical science fiction is directed by Galder Gaztelu-Urrutia debuted at last year’s Toronto International Film Festival, and although it has already had a release in its homeland, Spain, and a couple of other countries (Hong Kong from today) it will arrive on Netflix in some territories in just a couple of weeks.

Synopsis: In a prison where inmates on high floors eat better than those below, who get the scant scraps, one man tries to effect change so everyone gets enough.

Some Netflix regions get this on 20th March. Here’s the trailer.

The
See full article at The Hollywood News »

Netflix's New Releases Coming in March 2020

Netflix's New Releases Coming in March 2020
Netflix is ready to kick off March by adding a number of new movies and TV shows.

Original films that will be added to the streaming service throughout the month include Spenser Confidential, I Am Jonas, Twin Murders: The Silence of the White City, Sitara: Let Girls Dream, Lost Girls, Go Karts, The Platform, Ultras and The Decline.

On the TV side, Netflix original series set to debut new seasons include Ozark, Elite, Castlevania, On My Block, The Boss Baby: Back in Business, Archibald's Next Big Thing, The Protector, Kingdom and Greenhouse Academy.

Meanwhile, new original shows The Circle Brazil, 100 Humans,...
See full article at The Hollywood Reporter »

‘Almacenados’ Team Reunites on ‘The Containment,’ Preps ‘The Platform’ Series

  • Variety
‘Almacenados’ Team Reunites on ‘The Containment,’ Preps ‘The Platform’ Series
Mexican filmmakers Jack and Yossy Zagha Kababie (“Almacenados”) are back at Ventana Sur’s Blood Window with “The Containment,” an English-language possession thriller set in the bayous of Louisiana, which participated as a project at Blood Window and Bifan in 2018.

“The Containment” is co-written by Yossy and breakout Basque scribe David Desola, whose last feature “The Platform” won Toronto’s Midnight Madness Audience Award, took the top prize at Sitges Film Festival and was just yesterday nominated for three Spanish Academy Goya Awards, including best original screenplay. Desola has worked with the Zaghas before, notably on 2017’s Mexican Academy Award-winning and Morelia Best Feature “Almacenados.”

Zagha’s Mexico City-based Avanti Pictures also owns the TV series rights to “The Platform,” which they are developing with Desola now alongside another feature project the three will team on. Both projects are being writing in and planned to be shot in English.

“We
See full article at Variety »

‘Pain and Glory,’ ‘While at War,’ ‘’Endless Trench’ Lead Goya Nominations

  • Variety
‘Pain and Glory,’ ‘While at War,’ ‘’Endless Trench’ Lead Goya Nominations
Pedro Almodóvar’s “Pain and Glory” will go head-to-head with two other big Spanish films – Alejandro Amenábar’s “While at War” and “The Endless Trench,” from Aitor Aguirre, Jon Garaño and José Mari Goenaga – at Spain’s 34th Goya Academy Awards, to be held Jan. 25 in Malaga.

Pain and Glory” garnered 16 nominations,” “While at War” 17 and “The Endless Trench” 15.

Though most pundits would put “Pain and Glory” as the frontrunner, the outcome is difficult to predict. World-premiering in Spain before competing in Cannes, where Antonio Banderas won the best actor prize, “Pain and Glory” was reckoned by Spanish critics to be Almodóvar’s best film in a decade.

But ever since the screenplay for Luis Buñuel’s “Viridiana,” which went on to win the Palme d’Or, was written off in Spain as nonsense, the Spanish industry has steadfastly refused to kowtow to internationally acclaimed directors or indeed talent.

Screening at Ventana Sur,
See full article at Variety »

Macao Film Festival reveals full line-up for 2019 edition

  • ScreenDaily
The New Chinese Cinema section returns for the second year.

The 4th International Film Festival & Awards Macao has unveiled its 2019 programme, including the return of the New Chinese Cinema section with a jury headed by Romanian filmmaker Cristian Mungiu.

Mungiu will oversee a five-person jury watching six films from Chinese-speaking territories. His jury consists of BFI London Film Festival artistic director Tricia Tuttle; former Sffilm (San Francisco Film) executive director Noah Cowan; and filmmakers Kirsten Tan from Singapore and Qiu Yang from China.

Scroll down for the line-up

The films in the section include Anthony Chen’s Wet Season, which
See full article at ScreenDaily »

Galder Gaztelu-Urrutia’s Debut ‘The Platform’ Tops Sitges Awards

  • Variety
Barcelona — Galder Gaztelu-Urrutia’s debut feature “The Platform” was awarded best film, and best F/X at the 52nd Sitges’ Intl. Fantastic Film Festival of Catalonia. Gaztelu-Urrutia also snagged the Citizen Kane Award for an up-and-coming director and the Audience Award for best picture. The prizes come off the back of the Grolsch People’s Choice Award at Toronto’s Midnight Madness.

Produced by Carlos Juárez at Bilbao-based outfit Basque Films in co-production with Barcelona’s Mr. Miyagi, Gaztelu-Urrutia’s debut offers a harsh survival parable of power human relationships in a dystopic multi-floor dungeon prison. Its oft-starving dwellers handle the situation with existential and cannibalistic inclinations. The nightmarish script was co-written by successful Catalan playwright David Desola (“Warehoused”) and Pedro Rivero, co-director of Gkids U.S. pick-up “Bird Boy.”

Bilbao-born Gaztelu-Urrutia is an experienced producer at Basque Films and has directed commercials as well as two shorts. One,
See full article at Variety »

67th San Sebastian Festival: 7 Industry Takeaways

  • Variety
San Sebastian — Blessed by sun, a steady sustenance of Donostia winning stars and a stream of production announcements, the San Sebastian Film Festival rounded its final bend on Friday after a robust 67th edition. San Sebastian’s status as the highest-profile movie event in the Spanish-speaking world remains unquestioned. The maelstrom of change – imminent global platforms. markets, Latin American politics -could not but play out over events, forging a festival of sharp contrasts and little granularity about how major pivots in the global business could impact the Spanish-language arthouse business and new directors, its stock in trade. Following seven takeaways from this edition:

1. The Winners: Spanish Svod Platforms

You could hear a proverbial pin drop as HBO España unveiled first footage from its first announced series in Spain: “Patria,” a multi-time-period set chronicle on the human impact of the Basque conflict. It left San Sebastian with the status of a must-see show.
See full article at Variety »

The Platform Trailer: Stunning Design Meets Searing Political Commentary in this Spanish Dystopian Thiller

With brilliant production design that recalls the the Brutalist feel of Stuart Gordon's Fortress, and an ingenious, claustrophobic premise reminiscent of Vincenzo Natali's Cube, The Platform looks to join the pantheon of smart science fiction allegories. The film by Galder Gaztelu-Urrutia, just played at Fantastic Fest as well as the Toronto International Film Festival to much acclaim and we can't wait to take a look at the piece in full. For now this first international trailer will have to do to wet our appetites (get it?). Synopsis: In a future dystopia, prisoners housed in vertically stacked cells watch hungrily as food descends from above, feeding the upper tiers, but leaving those below ravenous and radicalized. The Platform stars Ivan Massagué, Zorion Eguileor and others. Check...

[Read the whole post on screenanarchy.com...]
See full article at Screen Anarchy »

Emerging Talent, Attractions and Pitfalls, Analyzed at San Sebastian

  • Variety
Emerging Talent, Attractions and Pitfalls, Analyzed at San Sebastian
San Sebastian — “Talent without hard work is nothing,” Cristiano Ronaldo once said. In film, equally, talent without industry support doesn’t go far either.

New Talent – its attractions, pitfalls – was addressed Tuesday at lively San Sebastian Industry Club panel, entitled Emerging Talents, co-organized by Variety.

Speakers certainly have new talent curriculum: Latido FilmsAntonio Saura has sold notable first features, such as, two weeks ago Toronto Midnight Madness winner “The Platform,” acquired by Netflix, for example; former Jirafa producer Augusto Matte handled initial development on Francisca Alegría’s “The Cow Who Sang a Song About the Future,” one of the most anticipated of feature debuts from Latin America; San Sebastian Festival’s Maialen Beloki has helped forefront new talent as one of the festival’s major calling cards.

The other two panelists, Mexico’s David Zonana and Spain’s Belén Funes are new talents, their first features, “Workforce” and “A Thief’s Daughter,
See full article at Variety »

Basque Cinema Broadens Industrial Base

  • Variety
San Sebastian — Basque cinema is attacking the future with higher industrial and creative expectations than ever, playing off two motors: Co-production with other parts of Spain, international equity partnerships.

Two game-changers in the Basque film landscape, “Handia,” winner of 10 Spanish Academy Goya Awards in 2018, and “Loreak,” Spain’s 2016 Oscar submission, have contributed to consolidate local industry’s self-confidence in recent years.

The resurgence of Basque cinema is led by established production outfits such as Irusoin, Moriarti Produkzioak, Txintxua Films, Kowalski Films and Señor y Señora, whose managing boards combine in many cases talented creators and ambitious producers, which has proved a highly advantageous formula.

“There is an artistic and entrepreneurial ambition to make films that can reach the global market,” says Señor y Señora’s Leire Apellaniz, producer of San Sebastian New Directors player “Las letras de Jordi,” by Maider Fernández, and Aritz Moreno’s Sitges contender “Ventajas de viajar en tren.
See full article at Variety »

Michael Fassbender Joins Taika Waititi’s ‘Next Goal Wins’ as ‘Jojo Rabbit’ Wins Tiff 2019

After an explosive last ten years or so that kicked off with Hunger and Inglourious Basterds, Michael Fassbender has left the spotlight recently. Call it a Snowman-induced break, but since that unfortunate bomb, he’s only been seen in the contractually-obligated Dark Phoenix. While he’s currently filming Kung Fury 2, the actor has now found his next leading role.

Deadline reports he’s set for Taika Waititi’s Next Goal Wins, an adaptation of Mike Brett and Steve Jamison’s 2014 documentary, which explored the underdog story of the national football team of American Samoa. In 2001, they lost 31–0 to Australia, but would (spoilers?) go on to qualify for the 2014 FIFA World Cup. Fassbender will take the role of the team’s Dutch coach Thomas Rongen. Only recently announced, filming will begin this fall before Waititi returns to the McU with Thor: Love and Thunder.

Meanwhile, the director won the top
See full article at The Film Stage »

'Jojo Rabbit' wins Tiff audience award in Oscar boost

'Jojo Rabbit' wins Tiff audience award in Oscar boost
Three audience winners over last decade went on to win best picture Oscar.

Taika Waititi’s Jojo Rabbit has won the Toronto International Film Festival’s (Tiff) Grolsch Global People’s Choice Award, a key bellwether in the Oscars race.

In the last decade every winner has gone on to earn a best picture nod except Nadine Labaki’s Where Do We Go Now? from 2011. Last year’s winner Green Book won the best picture Oscar, and the other Tiff audience award winners from the last 10 years to do that were 12 Years A Slave (Tiff 2013), and The King’s Speech
See full article at ScreenDaily »

'Jojo Rabbit' wins Tiff audience award in Oscars boost

'Jojo Rabbit' wins Tiff audience award in Oscars boost
Three audience winners over last decade went on to win best picture Oscar.

Taika Waititi’s Jojo Rabbit has won the Toronto International Film Festival’s (Tiff) Grolsch Global People’s Choice Award, a key bellwether in the Oscars race.

In the last decade every winner has gone on to earn a best picture nod except Nadine Labaki’s Where Do We Go Now? from 2011. Last year’s winner Green Book won the best picture Oscar, and the other Tiff audience award winners from the last 10 years to do that were 12 Years A Slave (Tiff 2013), and The King’s Speech
See full article at ScreenDaily »

‘Jojo Rabbit’ Claims Tiff Audience Award

  • Indiewire
‘Jojo Rabbit’ Claims Tiff Audience Award
Director Taika Waititi’s “Jojo Rabbit” took home the Toronto International Film Festival’s 2019 Audience Award on Sunday, with Noah Baumbach’s “Marriage Story” and Bong Joon Ho’s “Parasite” claiming the runner-up prizes.

The Tiff People’s Choice Award has, in recent years, presaged an eventual Best Picture Academy Award nominee — and, in some cases, a winner. Last year’s prize went to Best Picture winner “Green Book,” and previous winners include “La La Land,” “12 Years a Slave,” “Three Billboards Outside Ebbing, Missouri,” “Room,” and “Silver Linings Playbook.”

Critics were not in love with “Jojo Rabbit,” as the film currently sits with a score of 52 on Metacritic. This is an arthouse movie, not a destined-for-the-mainstream global phenomenon, which is anomaly in Tiff Grolsch People’s Choice Award history.

“We saw firsthand how Toronto International Film Festival audiences responded to ‘Jojo Rabbit.’ We’re incredibly proud of this film,
See full article at Indiewire »

Taika Waititi’s ‘Jojo Rabbit’ Wins Top Prize at Toronto Film Festival Awards

  • Variety
Taika Waititi’s ‘Jojo Rabbit’ Wins Top Prize at Toronto Film Festival Awards
Taika Waititi’s “Jojo Rabbit” has won the coveted People’s Choice Award at this year’s Toronto International Film Festival.

The honor positions the film for a potential Oscar run and bolsters its awards chances. That’s good news for Fox Searchlight, which must have been disappointed by the lackluster critical reception for the movie, a dark comedy set in the waning days of the Nazi Empire. Reviewers faulted the picture for delivering satire without the necessary sting, generally agreeing that “Jojo Rabbit” had stumbled out of the gate.

That no longer appears to be the case. Toronto’s top prize has uncanny predictive powers when it comes to selecting future Oscar winners. Last year’s winner, “Green Book,” went on to capture the Academy Award for Best Picture. Previous victors include “La La Land,” “Room,” “Three Billboards Outside Ebbing, Missouri,” and “The Imitation Game,” all of which went
See full article at Variety »

‘Jojo Rabbit’ Wins Toronto’s Grolsch People’s Choice Award; Best Picture Oscar Predictor?

  • Deadline
Jojo Rabbit is the winner of this year’s Toronto Film Festival Grolsch People’s Choice Award. First runner-up was Netflix’s Marriage Story, and the second runner-up was Neon’s Cannes winner Parasite.

The trophy is considered a bellwether of sorts for the awards-season race even if it is selected by festival moviegoers who vote online following a screening. The festival assures they double check the legitimacy of each vote, and that it came from a ticket holder so as to prevent gaming the system. In theory, no stuffing of the ballot box is allowed according to Tiff.

At its world premiere screening last Sunday evening, director Taika Waititi’s Jojo Rabbit was rapturously received by the opening-night audience, perhaps the most enthusiastic reception of the festival I thought at the time. However, critics were decidedly mixed when reviews hit and the film currently stands at 75% fresh on Rotten Tomatoes.
See full article at Deadline »
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