How many people have to die unnecessarily before change is enacted? That’s the question near the heart of Galder Gaztelu-Urrutia’s dystopian thriller The Platform, a grimly violent exploration of humans driven beyond the point of compassion. Almost. If that sounds cliched, rest assured it’s not. You think you know what’s coming but you do not. The premise is simple in David Desola and Pedro Rivero’s stark screenplay: People can volunteer to spend time in “the pit” in order to get jobs or medical care or just about anything else they can’t otherwise afford. From the outside, it seems like a tough but seemingly manageable trade, but the reality of the pit is unknown to anybody who hasn’t been inside. Goreng (Ivan Massague) signs up because he wants to quit smoking and gain professional accreditations. The titular platform is a massive, banquet-laden structure that descends from the first floor (Jon D. Domínguez ‘s vertiginous cinematography is stunning). There’s enough food for everyone, but below level 60 or so, the food runs out. Every few days, everyone is gassed to sleep. When they wake up, they’re on a new level. Goreng wakes up in level 47. It takes about a day before his humanity is almost completely erased. He thinks he’s in hell, until he wakes in 171. When Goren joins forces with a fellow detainee Baharat (Emilio Buale), The Platform veers toward the land of bromance action thriller, only every thrill is packaged in a thick shroud of moral ambiguity. How many deaths can be justified in the name of uprising? How many before the people at the top stop killing the ones below? The Platform doesn’t provide an answer. But damn if I wouldn’t watch the hell out of the sequel to see how it turns out.