{"id":140448,"date":"2020-04-16T15:45:32","date_gmt":"2020-04-16T13:45:32","guid":{"rendered":"https:\/\/theworldwidejournal.com\/2020\/04\/16\/what-netflixs-the-platform-tells-us-about-humanity-in-the-coronavirus-era\/"},"modified":"2020-04-16T15:45:32","modified_gmt":"2020-04-16T13:45:32","slug":"what-netflixs-the-platform-tells-us-about-humanity-in-the-coronavirus-era","status":"publish","type":"post","link":"https:\/\/theworldwidejournal.com\/?p=140448","title":{"rendered":"What Netflix&#039;s The Platform tells us about humanity in the coronavirus era"},"content":{"rendered":"<p>We\u2019re appalled when those \u2018above\u2019 us don\u2019t share &#8211; but there\u2019s always somebody below, too, says director Galder Gaztelu-UrrutiaCoronavirus \u2013 latest updatesSee all our coronavirus coverageWhen Galder Gaztelu-Urrutia began shooting his latest film in Bilbao almost two years ago, the Spanish director felt the themes of his low-budget, dystopian horror feature would be sufficiently universal to resonate with audiences around the world. Today, however, many are claiming that El Hoyo \u2013 known in English as The Platform \u2013 is the perfect parable for life in the time of the coronavirus and a visceral investigation of how a crisis can expose not only the stratification of human society but also the immutable strands of selfishness coded into our DNA.The parallels are certainly not hard to find. The Platform is set in a forbidding \u201cvertical self-management centre\u201d \u2013 a soaring series of concrete cells stacked one on top of the other, each holding two inmates. Every day, the eponymous platform, stacked with a lavish but finite supply of food and drink, descends, level by level. Continue reading&#8230;<br \/>\nVia: <a href=\"https:\/\/www.theguardian.com\/film\/2020\/apr\/16\/what-netflixs-the-platform-tells-us-about-humanity-in-the-coronavirus-era\" target=\"_blank\">What Netflix&#039;s The Platform tells us about humanity in the coronavirus era<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>We\u2019re appalled when those \u2018above\u2019 us don\u2019t share &#8211; but there\u2019s always somebody below, too, says director Galder Gaztelu-UrrutiaCoronavirus \u2013 latest updatesSee all our coronavirus coverageWhen Galder Gaztelu-Urrutia began shooting his latest film in Bilbao almost two years ago, the Spanish director felt the themes of his low-budget, dystopian horror [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-140448","post","type-post","status-publish","format-standard","hentry","category-english"],"_links":{"self":[{"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=\/wp\/v2\/posts\/140448","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=140448"}],"version-history":[{"count":0,"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=\/wp\/v2\/posts\/140448\/revisions"}],"wp:attachment":[{"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=140448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=140448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/theworldwidejournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=140448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}