🔴 Watch Online El Hoyo (2019) Full Movie
Date: 2020-04-04 03:05:40
Viewed: 146 times - 5 hour, 42 minute, 5 second ago
Since the day of its release on the streaming platform, Il Buco (original title, El Hoyo), a Spanish film acquired and distributed by Netflix and directed by Galder Gatzelu-Urrutia, has not ceased to be talked about. Since March 20, many are sharing their thoughts and their interpretation of what many seem to be the metaphor of the society in which we live and others, even a symbolically perfect film for these days of isolation and quarantine. The film site FilmPost.it has tried to make an analysis of its symbols and its most evident and strong metaphorical meanings (and we at Nerdface are very pleased to host it on our pages, ed.). We will investigate the socio-political metaphor, the religious one, the literary echoes and the more or less explicit suggestions of other films that have dealt with the topics dealt with in various ways and with different variations.
Two words on the plot. Written by David Pesola and Pedro Rivero, El Hoyo follows the main character, Goreng, in his months of imprisonment in an absurd prison, La Fossa, developed vertically with a hole in the center. The man decided to voluntarily shut himself up in this strange penal institution to quit smoking and brought Don Quixote as his only company. Once a day, a platform passes through the hole that connects all the cells: from the top floor it loads all kinds of dishes and goes down, level after level, to the lowest floor. In theory, if the prisoners of the upper cells consumed only portions of food sufficient for their needs, without exaggerating, everyone could feed without problems. Every month the prisoners are asleep and transferred to a different level, without being able to predict in any way what it will be. Officially, the name of the prison would be the Center for Vertical Self-Management and its purpose would be to promote spontaneous acts of solidarity. The practical result, however, is far from theoretical intent. We warn those who read, that in the course of our analysis, those who have not yet seen the film could run into some spoilers.
El Hoyo: the socio-political key
There is no doubt that the film carries a strong accusation against the hierarchical system of Capitalism: the vertical prison reflects and is somehow a metaphor for the real world. Those who are higher up have an advantage, are greedy and cling strongly to their privileges, aware that every month the situation could change. Those who are in the lower cells, on the other hand, have less food, less chance of survival and consequently resort to often extreme solutions to support themselves. The reality is not so different: the gap between the privileged and the last only widens: no one gives up their comforts and those who live in disadvantaged situations often struggle with those who are better and those who are even worse. For convenience, we can from now on talk about the rich (on the upper floors of the prison) and the poor (on the lower floors). The prospect that living conditions may change from month to month does not change the behavior of prisoners in any way: it does not arouse compassion, empathy or a spirit of solidarity. Everyone can find themselves rich or poor, but in El Hoyo we see how it has no effect on habits and behavior. The poor continue to fight the poorest, while the rich, taking advantage of their status, albeit temporary, continue to despise and trample on those under them. It is legitimate to ask what is the goal, however never explained in the film, of the administrators of the vertical prison. Maybe make the poor understand that they could, in real life, always be one step away from wealth and teach them how to behave accordingly? Or, again, to push the rich to adopt more responsible and supportive behaviors, because in turn they could find themselves in the condition of those they despise? Possible. In this perspective, prison as a social experiment, punitive on the one hand and exemplary on the other, represents a failure across the board. It is true that the protagonist Goreng receives the message and is the spokesman for an attempt to change the system, but in a way tied in tandem with the rules and mechanisms of that same system that he would like to fight. El Hoyo ends with a message of hope, conveyed in a crude and ruthless, but certainly important way. It is a pity that the viewer does not know the reception of this message: he will be able to imagine it, but with the premises created during the course of the film, the expectations are not the happiest.
El Hoyo: the key to religious reading and Dante's echoes
There are those who see, with good reason, a religious metaphor in the representation of the prison. Its structure is reminiscent of the circles of the circles of Dante's Hell. The more you go down, both in Dante's Comedy, and in the film by Gatzelu-Urrutia, the further you go from God, the more serious the faults to be served and the penalties to suffer. Eventually, Goreng discovers that prison levels are not 200 as he was told, but 333. Half of 666, the number traditionally linked to the Devil. Not only that: here we also find an insistence on the number 3 and it is known that in Dante's Comedy the allegory of the number 3 is an important element. We can read, albeit freely, but fittingly, the journey of Goreng in the bowels of the prison as a parallelism with Dante's journey in the infernal circles. Each character who accompanies him during his stay, however, can be interpreted as a declination, also here quite free, of the figure of Virgil. Is there then a paradise? It could, but not a real Paradise, but rather a distorted projection of it. It would be, in this case, Level Zero, the place where delicious dishes are transported to the prison via the platform. And aren't all the prisoners in the prison sinners? And if it were a twist of perverse Purgatory, rather, where the prisoners reflect on their sins and try to serve them? In this case the Administration, as a distorted but plausible divine figure, would subject men and women to a terrible test to atone for sins committed both in the real world and in the prison itself. It is up to the spectator to judge with what results. A final key to religious reading could see our protagonist as a sort of messiah who, after a path of suffering, sacrifices himself to try to pursue an ideal of collective good.
El Hoyo: between Snowpiercer, Il Cubo and High Rise
More or less explicit that the references are or evident the suggestions, all those who have seen El Hoyo are able to find in the film echoes of other films, as regards themes, narrative structure, messages and setting. The most popular comparisons are that with Bong Joon-Ho's Snowpiercer and Vincenzo Natali's Il Cubo. Ben Wheatley's High Rise (in Italy arrived as Il Condominio) is also worth adding to this small list of comparisons. In Snowpiercer, the metaphor of social inequalities, simplifying, runs on a train of survivors of the apocalypse: passengers travel arranged according to their social affiliation, the rich in the head, the poor in the queue. Here too we are witnessing a revolt. The parallels end mostly here and it doesn't make much sense to speak of El Hoyo as a Snowpiercer rotated 90 °. Vincenzo Natali's Cube is a true dystopian sci-fi horror classic of the 90s. El Hoyo shares with it the basic idea and the claustrophobic setting: the sparse and minimalist settings allow both films to focus on the message and the dynamics between characters on stage. If in Snowpiercer and in The Cube there is a strong push to free oneself from a condition of captivity, in El Hoyo a general sense of passivity seems to prevail. Goreng, of course, around the middle of the film becomes the protagonist of a subversive push, but all the other characters seem to be swallowed up in a kind of toxic immobility. The stratification of the social pyramid of the film by Gatzelu – Urrutia, in some ways, is much more reminiscent of that of the characters of High Rise, an adaptation of the novel of the same name by J.G. Ballard, a true master of the social science fiction genre. We also have a vertical stratification in Ben Wheatley's film: in the apartment building where the story takes place, the most disadvantaged were placed in the apartments on the lower floors, while the elites live in the luxurious penthouses on the upper floors. Even in High Rise we are witnessing a revolt: here, unlike that of Goreng in El Hoyo, it is a journey from the bottom to the top, which culminates in the final catharsis. If the uprising in Wheatley's film proceeds, ideally and physically, from the bottom up, the moral parable of its protagonists is diametrically opposite. It is in this particular trait that El Hoyo looks more like High Rise: the protagonists of the latter, exactly as Goreng does for most of the film, regress to a stage that is not exaggerated to define animalistic, under the overwhelming weight of their actions , conditions and faults.
El Hoyo: the lesson of Don Quixote and the ending of the parable of Goreng
At the end of his descent into the Pit, in the company of Baharat, his last cellmate, Goreng discovers that the prison levels are not 200 but 333. He starts his revolution, to try to reverse the mechanism that regulates the use of the food on the platform. During his entire stay in the prison, Goreng is stained with several faults, including murder and even cannibalism, choices dictated by the primordial drive to survive. Arriving at the end of his descent, having managed to preserve a symbolic panna cotta, he makes another shocking discovery: at the lowest level of the Pit lives a girl, completely alone. It could be the daughter of Miharu, the young woman who travels on the platform, looking for a hypothetical son whose existence also doubts the viewer, from the beginning; or it could be, in a much more likely way, the very symbol of hope. The finding of the girl is doubly upsetting, because it contradicts an apparent rule of administration: no minors under the age of 16 in the Pit. In the lowest level of the prison lives the flesh-and-blood example of how often the youngest victims are most affected by class struggle. We said that Goreng, in his educational descent to the lower levels, but also earlier, commits a series of extreme acts to survive and impose the new rules. Having reached the bottom of his infernal descent, he understood without the possibility of error that he was now too contaminated by the faults and that he had in turn become part of that same system that he tried to subvert. And so, then, also strong of the lesson learned by reading Don Quixote, he decides to sacrifice himself, to get off the platform and to bring up only the little survivor. The little girl, who has not committed any sins of any kind and who has no faults, will go up alone, while he will remain down, in the infernal bowels of the Pit, now too corrupt. Also significant is the fact that the little girl survived, alone and defenseless, in a context in which anyone else would have died. Goreng becomes a true quixotic hero, aware that his message, through the little girl, will still arrive.
In a particular and difficult situation like the one we are experiencing now, everyone, some more and some less on the same uncomfortable boat, we feel the need to turn to the cinema for answers, comfort and stimuli. It is not surprising, therefore, that El Hoyo has been elected by many as a symbol film of these days. It will be isolation, it will be the idea that the current pandemic will only widen the social gaps, already so present, it will be that El Hoyo is an intelligent and engaging film and knows where to hit and how to do it, it will be that right now seeing someone in a situation that, even remotely, reminds us of ours: each element makes us think that, after all, it could have been worse.
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