Table Of Content
- A collection of three stories each exploring a different kind of terror
- The House Review: A Creepy, Strange, And Ultimately Beautiful Stop-Motion Anthology That’s Out Now on Netflix
- Production
- Nathan Fielder and Emma Stone Take a Ride on the Wild Side as TV’s Cringiest Couple
- Lifestyle
- Best New Movies on Netflix: May 2024's Freshest Films to Watch
The foundation for the anthology is established by the gothic cloth animation of Emma De Swaef & Marc James Roels, who previously orchestrated the colonization mini-anthology short “This Magnificent Cake! ” Their eye for towering sets, intricate stark detail, and characters with tiny eyes and mouths continues here, with a slow burn tale about a family that suffers from a Faustian homeowner bargain. The father Raymond (Matthew Goode) makes a deal with “an architect of great renown” that he runs into the woods named Mr. Van Schoonbeek (Barney Pilling), who offers them a new mansion and furnishings, for free.
A collection of three stories each exploring a different kind of terror
And with all three houses come lessons about materialism, about deception, and about letting go. Despite the various circumstances and timelines, in each story the house represents a kind of lifeline for the characters. It’s a chance for a family to inspire jealousy, for a mouse to pull himself out of the crushing weight of debt, and for a cat to slowly build the home of her dreams. What’s most interesting about The House is how each story offers a different riff on this theme. The first two chapters lean into being creepy, particularly their unsettling endings, but while the first is more of a slow-building dread, the second is much more tangible. Meanwhile, the final chapter, despite starting out quite bleak, ends on a surprisingly hopeful note.
The House Review: A Creepy, Strange, And Ultimately Beautiful Stop-Motion Anthology That’s Out Now on Netflix
As the investigation unfolds, the couple is arrested for her murder, causing shockwaves throughout the country. Candela Peña and Tristán Ulloa star in the gripping drama that’s quickly risen to the No. 2 spot in the U.S. on Netflix. The goal of /r/Movies is to provide an inclusive place for discussions and news about films with major releases. Submissions should be for the purpose of informing or initiating a discussion, not just to entertain readers.
Production
The pint-sized protagonists, with their smooshed faces, are voiced and acted so endearingly that they elevate the heart and the stakes of the whole piece. Each story is a standalone, with Chapter One directed by Emma De Swaef and Marc James Roels, Chapter 2 directed by Niki Lindroth Von Bahr, and Chapter 3 directed by Paloma Baeza. Each director uses the techniques of the medium, but their aesthetics, visual approaches, and narrative styles are all deeply unique and rewarding in different ways.
If you’re a fan of animation, all three are visually sumptuous exercises that challenge the boundaries of the medium. This is strikingly cinematic filmmaking regardless of the housebound constraints within each story. The cinematography, lighting, textile usage, and overall ambition of what they bring to life with such detail is flat-out inspiring. On the day of the viewing, the guests are unimpressed by the house, but a strangely proportioned couple remains, expressing a strong interest in buying the house. Over the next few days, the odd couple remain firmly settled in the house, the bugs return in force, and the bank keeps demanding repayment of the developer's business loan.
The developer, having regressed to animal-like intelligence, briefly emerges from the remains of the oven to eat garbage before retreating underground. The story is set in a world populated by anthropomorphic rats, and the house is now settled in a developed city street and about to go up for sale. The developer renovating the house recently laid off his entire construction crew to reduce costs and must do all the work himself. Discovering the house has been infested by fur beetles and larvae, he uses copious amounts of boric acid to get rid of them, to no avail. They shared meals at his place, and he even thought they might move back together.
Film Credits
The first two have a spooky twist, the third is a more straightforward if dystopian tale. The three-story anthology explores the many definitions of what a house can be using different tones and techniques. It also proves the vitality that this special kind of animation can bring to the screen. Chapter 3 introduces the most beautiful landscapes of the whole film, taking place post global flood as homes are now rendered as tiny islands in an ecosystem threatening to swallow everything in its path. Following in the footsteps of the house flipper, Rosa (Susan Wokoma) is a cat that acts like a human.
Best New Movies on Netflix: May 2024's Freshest Films to Watch
The house is now marooned on a nondescript body of rising water, surrounded by a pink mist. But the current cat landlord Rosa (Susan Wokoma) is obsessed with refurbishing the place, and has a whole plan charted out. Meanwhile her two current tenants, Elias (Will Sharpe) and Jen (Helena Bonham Carter), don’t pay rent with money but they do share a type of family bond with each other.
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After her adoptive parents reported her missing, Yang’s body was discovered on the side of the road, and her parents were arrested shortly after. Netflix’s new investigative thriller, The Asunta Case, recently arrived on the streaming platform. Discover what happened to Asunta Fong Yang in real life, including the fate of her adoptive parents. Every so often while watching The House, a new stop-motion film on Netflix, I would remember that every single frame had been meticulously set up and photographed, and my mind would be blown all over again. Realism was a top aesthetic priority for Baeza, even in her “completely fantastical world with cats walking around,” and the look of water proved one of the most challenging components.
The House, one of Netflix’s first new releases of the year, is a straightforward concept. It’s a film split into three chapters, each helmed by a different director, all of which explore a different story related to the same sprawling home. What connects each short, aside from the physical house and stop-motion animation, is a creeping sense of dread. The House looks cute, with talking animals and dollhouse-like visuals, but in each story there’s something lurking just beneath the surface; something wrong, unsettling.
For this first installment of a two-part series (click here to read part two) on the making of “The House,” IndieWire spoke with the filmmakers, as well as producer Charlotte Bavasso, writer Enda Walsh, and Oscar-winning musician Gustavo Santaolalla. Come back tomorrow for an in-depth, behind the scenes breakdown of the film’s three segments. If the content of the stories had matched the painstaking form, the anthology could have been rather a groundbreaking success.
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