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TIFF Interview: Galder Gaztelu-Urrutia on ‘The Platform’ and Solidarity

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The Platform Galder Gaztelu-Urrutia

With The Platform, Spanish director Galder Gaztelu-Urrutia has crafted a dystopian masterpiece with a sharp bite. The film explores class inequality and solidarity, elevating the conversation and causing the audience to question their understanding of morality.

I was able to sit down with Gaztelu-Urrutia to discuss The Platform and its adaptation from play to film.

[Click here to read my full review of The Platform]


Kelly McNeely: What was the genesis of The Platform? Where did this come from?

Galder Gaztelu-Urrutia:  It’s a script that was originally written for a play — a theatrical play — that, in the end, never came out. The idea was from David Desola, and he wrote the script with Pedro Rivero. Pedro and I have been friends for a long, long time, and Carlos Juarez — the producer — received the script. 

So once we read the script, we understood that there was a big, big potential. We also knew that the script needed a lot of changes to turn it from a script for a play into a script for a movie, but there was a good base to work with. The principal characters and the symbology of the movie — the metaphors — you could see when reading the script, so we knew the concept was very good. 

Kelly McNeely: Can you talk a little bit about the metaphors and the symbolism of The Platform?

Galder Gaztelu-Urrutia: If you watch the movie you realize that there are several levels; there are rich people in the upper levels, and poor people in the bottom levels. It’s about those different social classes, north and south. There’s another level of symbology as well, that if you watch the movie again you’ll discover more about it. 

The movie is not about changing the world, but it’s about understanding and placing the viewer in one of the levels, and seeing how they would behave depending on which level they’re on. People are very similar between each other. It’s very important where you’re born — which country and which family — but we’re all very similar. It depends on where you go, but you will think and behave in a different way. So the movie is putting the viewer in the situation to face the limits of his own solidarity. 

It’s easy to have solidarity if you’re on level 6; if you have a lot you can give part of that up. But will you have solidarity if you don’t even have enough for yourself? That is the question. 

The Platform via TIFF

Kelly McNeely: There are a lot of phenomenal genre films that come out of Spain. Horror and thrillers, are those genres popular in Spain? Or perhaps not as big as they are in America?

Galder Gaztelu-Urrutia: There are not a lot of genre movies produced in Spain, but the few that are produced can travel very well among all the countries internationally. A lot of thrillers, but genre movies — horror movies — very few. 

Kelly McNeely: There are some excellent universal themes and dissections of class levels, was there a reason that you really wanted to communicate that class struggle?

Galder Gaztelu-Urrutia: The movie doesn’t want to teach anything. The Platform wants to put the viewer in a place to think about how they would behave in some situations, in respect to what’s happening outside in the world right now. What would you do in each situation? So if you are in the bottom of the platform or upstairs what would you do? They don’t judge, but they pose the question and give the viewer the opportunity to decide. 

The Platform via TIFF

Kelly McNeely: What are you or what were you inspired or influenced by when making The Platform

Galder Gaztelu-Urrutia: This movie changed me and also changed all the people that artistically joined the process of doing the movie — the actors, etc — the movie changed them. Shooting was very hard and they gradually put themselves — really put themselves in the pit. So there were all the parts of the movie — the production, the shooting — and then while you’re inside the movie you really realize the real message the movie has. And you change yourself. 

My artistic inspirations were Delicatessen, Blade Runner, Cube, of course, Next Floor; a lot of films. I like films. I’ve loved cinema since I was very, very young. A lot of little things from a lot of movies that I probably don’t really know where they’re from. And cultural baggage. 

Kelly McNeely: It’s interesting that it came from a theatrical script. I can kind of sense that in the structure of it; the first two acts feel very much like a play, and there’s that great third act in there as well. Was that third act part of the play originally, and what were the challenges of filming each section?

Galder Gaztelu-Urrutia: Actually you’re totally right, because the first two acts were originally in the play but the play finished on the second act. So the play is really finished when he decides to go down. Before that, the original play stops there. So we added that. 

The play’s script had a lot of potential, but we couldn’t use the same script because it was for a theatre play. I wanted to make it more physical, because there was a lot of dialogue in the first two acts. So I worked a lot with the two screenwriters to invent the third act. 

There were more characters in the original script that I removed to give more time to others, to make it a more cinematographical script. 

The Platform via TIFF

Kelly McNeely: I think it played really well, I think it was a very nice way to increase the tension and take it up to another level, but also wrap it up really nicely. 

Galder Gaztelu-Urrutia: Thank you. The play was more talkative and ethological, but the cinema works better when characters make a decision and take action. 

Kelly McNeely: I understand this is your first feature film as a director, what advice would you give to aspiring filmmakers?

Galder Gaztelu-Urrutia: The typical one; they have to be very stubborn to reach their goal. If you don’t work put in a lot of work to do it, you won’t succeed. Even if you work a lot and you don’t do it, you’ve tried. 

Kelly McNeely: And for my last question, if you were to go into the platform, what would you bring with you? What would be your chosen object?

Galder Gaztelu-Urrutia: The samurai plus!

 

For more coverage from TIFF 2019, click here!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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