Hundreds of inmates in a mysterious platform with hundreds of layers try to survive, attempting to distribute food equally.
The French Revolution meets “The Animal Farm” meets “Anarchy Unbound: Why Self-Governance Works Better Than You Think.” But The Platform 2 doesn’t meet its own expectations. It starts off by reintroducing the platform, its inmates, and the way the system works. Not long after, though, some things don’t add up, and soon, the audience realises that The Platform 2 is not a sequel but a prequel. So far, so good.
The two major positives are the visuals and the acting. Great cinematography and editing, and well-acted by all the characters. As I’ve said numerous times in the past, though, if the script is bad or, in this case, way too convoluted, and the things people miss keep adding up, and the questions become significantly more than the answers, everything else fails. One would expect that being The Platform 2 a prequel, it would provide some context. What is this platform? Who built it? When? Where? Why? When does it take place? What is this antigravitational technology?
To be clear (as one can be in this case), the ostensible message of The Platform (2019): https://kaygazpro.com/the-platform-2019-horror-sci-fi-thriller/ addressed the capitalistic system and, more particularly, class and wealth distribution, but it was not. The appearance of the kid, as well as what happened in the end, indicated that the people behind the system itself, the ones who think they control it, don’t. Class inequalities have now been replaced by ideological polarisation and extremism, and while that’s not an issue, a connection between the two films should have been made. The introduction of children in a similar place to the platform, the pyramid they form and the way(s) they connect to the adults create an even bigger mystery and open possibilities for more theories, providing fewer and fewer answers.
I have mapped certain theories, but surely you can find a plethora of answers online. None of them, though, can be confirmed or answer questions. Ultimately, co-writer/director Galder Gaztelu-Urrutia consumes the audience with questions, such as: What is fair? Who should be in charge? Is there actually anyone in charge? Who’s free? Free to do what? From whom? How long for?
I hope you enjoy it either way. It is a couple of hours of suspenseful action that will make your problems go away. Then, back to reality…
Thanks for reading!
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Solidarity for all the innocent lives who suffer the atrocities of war!
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