High-Rise

In September 1975, Dr. Robert Laing lives in a ravaged high-rise tower block, where a brutal moment—killing a dog and spit-roasting its leg—signals the strange blend of luxury and savagery that will define life inside this building.

Three months earlier, the 40-storey tower on the outskirts of London stands as a monument to chic, modern living designed by the renowned architect Anthony Royal. On its upper floors, the wealthy residents enjoy exclusive perks, while those on the lower levels feel cut off from the outside world. The building is packed with amenities—swimming pool, gym, spa, supermarket, and primary school—that encourage a sense of community, yet also deepen the gulf between floors. Into this carefully staged ecosystem arrives [Laing], who moves onto the 25th floor after his sister’s death, and he quickly forms a bond with the single mother Charlotte Melville, becoming a father figure to her son Toby.

Laing’s circle expands to include documentary filmmaker Richard Wilder and his pregnant wife Helen, who reside in a low-level apartment with their children. As Laing engages his interest in human physiology, he leads a class that studies a severed head, a moment that foreshadows the unsettling curiosity that courses through the tower. A student named Munrow faints during the session and later receives a precautionary brain scan, a small sign that medical scrutiny might hold answers—and risks—in this claustrophobic world. The next day, Laing is summoned to the 40th-floor penthouse to meet the building’s proprietor, Anthony Royal, who invites him to a party hosted by his wife, Ann.

The party turns out to be an 18th-century costume affair, a stark clash with Laing’s everyday suit, which is ridiculed by Ann and by others, including Munrow, who already seems uneasy in this social labyrinth. Humiliation heightens the tension, and Laing finds himself trapped in an elevator when a power cut plunges the building into darkness. Power outages, water shutoffs, and blocked garbage chutes become routine, and Royal downgrades the discomfort to mere “growing pains” of a new development. Munrow’s brain scans return normal, but Laing subtly sows doubt in Munrow’s mind, insinuating he has a brain tumor.

One night, a sustained round of drunken decadence erupts across the high-rise, and Munrow, overwhelmed by despair, commits suicide by leaping from the 39th floor. Wilder, who senses that the authorities are ignoring the growing chaos, becomes determined to expose the injustices festering within the tower. Law and order collapse as violence and want surge through the building, garbage piles up, and the class divisions intensify, with the upper floors showing brittle affluence and the lower floors spiraling toward desperation. Laing exhibits disturbing signs of mental strain, brutally beating a man, barricading himself in his apartment, and engaging in sex with Helen.

Wilder, battered by those on the upper floors, resolves to kill Royal, convinced that the architect is orchestrating the collapse. He obtains a gun from Royal’s former housekeeper and pieces together a chilling truth: Toby, Charlotte’s son, is Royal’s illegitimate child. Wilder infiltrates Charlotte’s apartment, tortures her for information about Royal, and forces the truth into the light. A television newsreader named Cosgrove, who remains one of the few upper-floor residents who still leaves for work, is killed by a gang of lower-floor residents. In a grim turn, some upper-floor residents butcher Ann’s horse for meat, and Laing is pressured to lobotomize Wilder, an option he rejects, arguing that Wilder might actually be the sanest man in the building.

After a psychiatric evaluation, Laing refuses to sanction violence, and Royal himself intervenes when Wilder’s plan threatens to unravel the delicate thread holding the tower together. Royal proposes that the high-rise’s failure might paradoxically be a success—a crucible for change that could push the residents toward a new way of life beyond the building. Helen delivers her overdue baby, a moment that briefly anchors a fragile sense of hope amid the chaos. Wilder finally reaches the penthouse, and in a climactic confrontation with Royal, he shoots the architect dead. Wilder’s victory is short-lived, as Royal’s women kill Wilder, leaving Toby to observe the carnage through his kaleidoscope.

The film closes where it began, with the ravaged high-rise mirroring the earlier violence and breakdown. Laing, appearing to have lost his grip on reality, speaks in a detached, third-person cadence, a man altered by the tower’s brutal experiment. He lies down with Charlotte, contemplating a future where the same collapse might unfold in a second tower of the development. As the credits roll, a radio broadcasts Margaret Thatcher’s stark line: “where there is state capitalism there can never be political freedom,” a grim epilogue that underscores the social ferocity that the tower has unleashed.

Last Updated: October 03, 2025 at 20:08