audience Score - 107225 vote.
Thriller.
Duration - 94 min.
Ratings - 7,2 / 10 star.
In a dystopian near future with absence of resources, people can freely to go into The Hole, a vertical underground jail where after an interview to check the possible admission, the volunteer passes a determined time in exchange to acquire more social status. Hoping to get an approved title, Goreng wakes up in the level 48 to discover The Holes structure: only one cell of 6 meters height (so-so 20 feet) per level with a rectangular hole in the middle in all them, used by The Holes administration to descend a too rectangular floating platform with the food for all prisoners, downing from level 0 (the restaurant in the surface where food is cooked) to the bottom, standing 2 minutes per level. With veteran Trimagasi as cells partner, Goreng learns eventually The Holes main rules: 1st, each inmate arrives The Hole with a personal object to chose from the exterior; 2nd, the inmates cant keep food off the platform under penalty to die by extreme heat or cold; and 3rd, one time per month all inmates are asleep using gas in order to exchange all them of level. But when a month later they both wake up in the level 171, Goreng learns for his horror that all the inmates divide in four types: those in the upper levels who eat with more time to think, those in the mid levels who eat the rests of the food left in the platform, those in the lower levels whose dont eat after platform arrives empty becoming in demented and starved killers, and finally those who jump to the void by the hole, crashing against lower levels to being cannibalized by the savage inmates. Saved to be killed by Trimagasi in the last minute by Miharu, a silent and violent young girl who time and time again descends in the platform looking for her missing child forced to be in The Hole, Goreng starts lose his mind in a place without morality or humanity, passing from level 23 to 252 with Imoguiri (Gorengs interviewer and an ingenuous about the reality of The Hole) as new partner to finally arrive in level 6 with Baharat as lately partner, who tries with a rope scaling to level 0. But Goreng tells Baharat a better plan to leave The Hole.
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Movie Dialogue Transcript
Based on the Official Screenplay Written By: David Desola & Pedro Rivero.
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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.
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Movie Dialogue Transcript: "The Platform (El hoyo)"
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2020-03-31
Film Transcripts
Alexandra Masangkay, Algis Arlauskas, Antonia San Juan, El hoyo, Emilio Buale, Eric Goode, Horror, Iván Massagué, Mario Pardo, Movie Transcripts, movies, Movies from Spain, Netflix, Óscar Oliver, Sci-fi, Scripts, Spanish Movies, The Platform, Thriller, Transcripts, Txubio Fernández de Jáuregui, Written by: David Desola, Written by: Pedro Rivero, Zorion Eguileor
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La niña es el mensaje porque para qe sobreviviera alguien tuvo que cuidarla.
Pues ovio que estaba todos la vimos.
Shoot that hole away. You know. Cuz it's a problem...
Photo by Netflix Likely aided by worldwide quarantine, the popular Spanish sci-fi/horror movie is making big waves in pop culture. While many people are latching onto the film’s obvious criticisms of capitalism and social theories like the crabs in a bucket, there are deeper philosophical questions the film raises and multiple disciplines of thought that it explores. The primary philosophical principles are hedonism and altruism, and these philosophies are so deeply entwined that they are often expressed in a philosophical thought-experiment called The Prisoner’s Dilemma. In The Prisoner’s Dilemma, two criminal partners are separated from each other in isolated interrogation rooms, and each is given the same choice to make: rat out the partner or remain silent. If both remain silent, they will each receive a smaller punishment. If both rat each other out, they will each receive a harsher punishment. But if a prisoner rats on the other without being ratted on himself, he gets off clean while the other takes the fall. So how does The Prisoner’s Dilemma and its foundational philosophies of hedonism and altruism play out in The Platform? One of the two main philosophies the film touches on is that of hedonism. Focused primarily on cultivating one’s own pleasure and avoiding pain for the self, hedonism weaves its way across a large portion of the film. Its primary adherent is Trimagasi (Zorion Eguileor), Goreng’s (Ivan Massagué)first cellmate, and it is through his hedonistic perspective that we first learn the nature of the vertical prison. As such, our understanding (and Goreng’s) is colored heavily by this philosophy. Trimagasi’s totem, a self-sharpening kitchen knife, is similarly a reflection of this philosophy. He admits to not needing the knife, but he wants it, almost lusting after it, because of the happiness it may bring him (or the pain he may avoid: “What if my life sucks because my knives are not sharp — if purchasing a Samurai Max might make my life whole? ”). And his explanation of his crime is similarly self-centered, writing off the man he killed as an illegal immigrant who “shouldn’t even have been there. ” Given Goreng’s relatively high position at the start of the film, Trimagasi’s hedonism actually feels somewhat justified. He gorges himself on the scraps and disdains “the ones above” for their selfishness and greed. Trimagasi’s gorging appears to be a form of resistance or retaliation against the abuse from those above. There is an appeal to this sense of self-preservation, and Trimagasi can even be seen as heroic for taking a stand against an unfair system in which he has little control. But the seeds of hypocrisy have been planted, though it’s not until the duo are repositioned that the roots take hold. When their relative good fortune runs out by finding themselves relocated to Level 171, Trimagasi demonstrates the true weakness of the hedonist philosophy: its asymmetrical nature. When they are living well, Trimagasi and Goreng appear to be in similar circumstances, but what’s made clear on Level 171 is that Trimagasi has been manipulating the situation to his advantage. He admits to Goreng — only when he has him sufficiently restrained — that he cannot trust his cellmate and that he will survive over Goreng no matter the cost. It is this lack of trust that is the Achilles’ heel of the hedonist philosophy: if everyone is only putting their own interests before anyone else’s, it becomes impossible to trust anyone’s advice because they will only use it to benefit themselves. Even seemingly altruistic deeds would only be performed in service to the performer’s own ends. Public services like education, policing, or regulation lose their legitimacy because no trust is possible. So while hedonism literally works for the individual, it’s clear from Trimagasi’s behavior (and later the behavior of many of the other cellmates) that as a moral framework, it has some fundamental flaws. If Trimagasi is the film’s advocate for hedonism and the self, Imoguiri (Antonia San Juan) is the advocate for altruism. And just as Trimagasi exemplifies both the virtues and vices of his moral philosophy, so does Imoguiri. Even as she explains the number of prisoners whose totems are various forms of weapons, Imoguiri reveals her totem to be her dog, Ramesses II. She cares so much for all life, even nonhuman life, that she willingly offers herself to the prison to bring order to the chaos as some kind of Mother Teresea figure. She is so devoted to sacrificing herself to others that she literally kills herself so that Goreng can eat from her corpse after they relocate to Level 202. Imoguiri’s altruism is not without its own faults, though. She is an idealist who — almost out of touch with reality — is unwilling to inflict even the slightest amount of discomfort onto another person to advance her cause. As such, she becomes a joke to those around her, an impotent bystander to be mocked and dismissed by the other prisoners. Like a passive mother unwilling to discipline her child (“Gentlemen, please, it has been 15 days and I’m begging you to follow my instructions this time”) she is trampled by the wills of those around her because she will not defend her beliefs. After her death, she joins Trimagasi inside Goreng, but as a much weaker manifestation guiding his growth. After the passing of his second mentor, Goreng meets the zealot Baharat (Emilio Buale). This encounter is different from those before in that Goreng enlists Baharat’s aid rather than being subjected to his views. Something has changed, and Goreng is taking action for himself. After the pair encounter Baharat’s master (Eric Goode), Goreng learns to blend Trimagasi’s willfullness to act with Imoguiri’s love for others to fight back against the system that truly imprisons them all. In this transformation, Goreng’s imitation of Nietzsche’s archetypes of metamorphosis becomes clear. The Three Metamorphoses refer to inner transformations a person must undergo before being fully able to to live. Nietzsche named the stages the camel, lion, and child, and they represent a linear model for transitioning from ignorance to enlightenment (though it may seem counter-intuitive to have the “child” symbolize the end of the process). The process begins with being a slave (or prisoner) to a herd morality and ends with an individual becoming truly free. Until meeting Baharat’s master, Goreng has demonstrated the first stage of the camel by piling the problems of the prison upon himself. Upon first waking, he immediately sought to organize the different levels and became ensnared in Miharu’s (Alexandra Masangkay) mission to find her child, even falling prey to traditional stereotypes that assumed her womanhood made her vulnerable. Imoguiri’s altruism resonated with Goreng precisely because he was in the stage of being a camel, heaping the burden of morality upon himself. Baharat’s master provides Goreng the freedom to move to the second stage: the lion. With Baharat’s help, Goreng moves through the prison destroying the order of this world. When he cannot destroy it peacefully, he destroys it actively with a strike from his cudgel (speak softly and carry a big stick? ). And destruction serves him well until he reaches the end of the prison. Here, he finds something he cannot (or will not) destroy. Fittingly, it signifies his transformation to Nietzsche’s final stage: the child. It comes as no coincidence that Goreng’s final metamorphosis is triggered by his vision of a child within the prison, something that has been deemed an impossible fantasy. Nietzsche presumed this transformation to be just as unlikely to find, few people successfully transform into the final stage of the child, a figure capable of creating a new world with new rules and morals. The difficulty of this transformation likely explains some of the awkwardness of the ending. The final transformation (both for Goreng and the prison) is strongly hinted at, but not revealed. What matters is that the transformation has been achieved. While it may feel disappointing, it also mirrors the difficulty of trying to explain the reality of becoming the child to someone who has not started the journey or who has only become a camel. Photo by Netflix So what does the film seem to say about morality and self? There is an obvious advocacy for Nietzsche’s transformation into the child, but what of something more practical? Hedonism is portrayed as selfish and cruel, altruism as foolish and weak. But Goreng’s imperative to take action feels inspired, a dynamic morality that seeks peaceful cooperation but punishes greed. You can check out what this looks like for yourself by playing The Evolution of Trust or by listening to Radiolab’s Tit for Tat. What do you think about The Prisoner’s Dilemma and its application on our lives? Other philosophical readings.
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We use cookies to offer you a better experience, personalize content, tailor advertising, provide social media features, and better understand the use of our services. To learn more or modify/prevent the use of cookies, see our Cookie Policy and Privacy Policy. Source publication Volcanic structures associated with a N-S cortical fissure were distinguished between Puerto Momotombo and Malpaisillo. The Volcanic Complex El Hoyo is the result of at least three different eruption cycles. Development and collapse of the caldera of Picacho volcano, construction of Paleo Hoyo volcano and El Hoyo vol- cano, which has been active in... Geophysical and geological observations collected in 2007-2012 shed light on the mechanisms controlling thestyle and location of eruptions within the Las Sierras-Masaya Caldera complex, Nicaragua. These results confirm ahypothesised∼3. 5 km diameter structure with features compatible with the presence of a ring fracture (50–65°, withinward-dipping b... In the Nicaraguan segment of the Central American subduction zone, bookshelf faulting has been proposed as the dominant style of Caribbean plate deformation in response to oblique subduction of the Cocos plate. A key element of this model is left-lateral motion on arc-normal strike-slip faults. On 3 August 2005, a Mw 6. 3 earthquake and its extensiv...... The maar is younger than the lava field east of Cerro Asososca but its northern rim is covered by lava debris from Cerro Asososca, a 600-m-high stratocone with a collapse-breccia at its southern slope associated with a scarp reaching up to the top (Badilla et al., 2001). We have sampled a lava flow and a lava bomb on the southeast flank of the volcano; both occur at the surface but their age is not further constrained.... The La Paz Centro - Malpaisillo Lineament (LPML) in west-central Nicaragua is a north-south striking, 20 km long chain of maars and cinder cones, which intersects the northwest-southeast striking main volcanic front. A tectonic control of LPML volcanism is likely but only evident for the Malpaisillo fissure at the northern end of the LPML. Previous work demonstrated geochemical variations implying changes in mantle-source composition (i. e., added slab components) along the Central American Volcanic Arc at spatial scales of some 10’s of kilometers. Our study of the LPML shows that minor but systematic changes also occur across the arc within 20 km distance. Variations in trace element ratios such as Zr/Nb, Ba/Th, Ba/La, Th/Zr, U/La and La/Yb along the LPML, i. e. across the volcanic front indicate little change in the degree of partial melting but an increase particularly in the hemipelagic sediment component in the mantle source from the fore arc towards the arc front, followed by a decrease behind the arc. Interestingly, the slab component is most prominent just in front of the 60 km southeast of the LPML, the Nejapa-Miraflores volcanic and tectonic lineament, which marks a 20 km north-south offset in the arc, differs substantially from the LPML. There is a wide scatter in incompatible trace element ratios indicating a heterogeneous mantle source at small spatial scales (c. 1 km). This mantle heterogeneity may represent vertical rather than across-arc variations and is probably related to the arc offset, because in the absence of such offset at the LPML mantle source conditions vary much less but more systematically.... Stratigraphic and geochronologic data for most of the eruptive vents located along the NMF are scarce. We performed a stratigraphic study inside and around Asososca, which was first described as a pit crater by McBirney (1955) and then as a " maar related to crustal fissures " by Badilla et al. (2001). Asososca is located in the central part of the NMF (Fig. 1), at the western outskirts of Managua.... Asososca maar is located at the western outskirts of Managua, Nicaragua, in the central part of the active, N–S trending and right-lateral Nejapa–Miraflores fault that marks an offset of the Middle America Volcanic Arc. It constitutes one of the ∼ 21 vents aligned along the fault, between the Chiltepe Volcanic Complex to the North and Ticomo vents to the ososca consists of an East–West elongated crater filled by a lake, which is currently used for supplying part of Managua with drinking water (10% of the capital city demand). The crater excavated the previous topography, allowing the observation of a detailed Holocene stratigraphic record that should be taken into account for future hazard analyses. We present a geological map together with the detailed stratigraphy exposed inside and around Asososca crater aided by radiocarbon dating of paleosols. The pre-existing volcanic sequence excavated by Asososca is younger than 12, 730 + 255/− 250 yr BP and is capped by the phreato–plinian Masaya Tuff (< 2000 yr BP). The pyroclastic deposits produced by Asososca maar (Asososca Tephra, in this work) display an asymmetric distribution around the crater and overlie the Masaya Tuff. The bulk of the Asososca Tephra is made of several bedsets consisting of massive to crudely stratified beds of blocks and lapilli at the base, and superimposed thinly stratified ash and lapilli beds with dune structures and impact sags. Coarser size-fractions (>− 2ϕ) are dominated by accidental clasts, including basaltic to basaltic–andesitic, olivine-bearing scoriae lapilli, porphyritic and hypocrystalline andesite blocks and lapilli, altered pumice lapilli and ash, and ignimbrite fragments. Juvenile fragments were only identified in size-fractions smaller than − 1ϕ in proportions lower than 25%, and consist of black moss-like, fused-shape, and poorly vesiculated, fresh glass fragments of basaltic composition (SiO2 ∼ 48%). The Asososca Tephra is interpreted as due to the emplacement of several pyroclastic surges originated by phreatomagmatic eruptions from Asososca crater as suggested by impact sags geometry and dune-crest migration structures. According to radiocarbon dating, these deposits were emplaced at 1245 + 125/− 120 yr BP. The stratigraphic position of the Asososca Tephra and the well-preserved morphology of the crater indicate that Asososca is the youngest vent along the Nejapa–Miraflores fault. Explosive eruptions might therefore occur again along this fault at the western outskirts of Managua. Such kind of activity, together with the strong seismicity associated to the active fault represents a serious hazard to urban infrastructure and a population of ca. 1. 3 million inhabitants.
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