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In a world that suffered an apocalyptic flood and is populated by anthropomorphic cats, the house is surrounded by water which keeps rising. Rosa, the landlord who cherishes the memories of her days growing up in the house, dreams of restoring it to its former glory. However, she struggles financially; and her only tenants, fisherman Elias and hippie Jen, do not pay rent despite her insistence; she consistently ignores their attempts to address the rising water. At his wit's end, the developer tries to use the boric acid on the couple, but he inhales a mouthful and faints. The couple picks the developer up from the hospital and brings him home, where their family welcomes him back, many of them now sporting additional limbs. The final scene shows the family ravaging the inside of the house—climbing up the walls and chewing through everything.
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It’s an easy detail to forget, because it’s easy to get lost in the compelling narrative of the three short animated films that make up The House. Each tale—which, while animated, are dark and creepy and morbid and decidedly not for young children—centers on a different house. The houses are beacons of corruption, objects of scams, and symbols of thwarted dreams. The protagonists move into them, out of them, fix them up, tear them down, and ride them off into the sunset.
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It’s also another striking feat of stop-motion animation, with lifelike sets and clothes that practically breathe as the furry characters move. Each episode is directed by a different director and a different host of characters. While the characters change, each story revolves around the titular house at different times in chronological order. This story revolves around a family that moves into the house in the 19th century.
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Discover what happened to Asunta Fong Yang in real life, including the fate of her adoptive parents. The third story had the most hope, even though it describes a very plausible environmental disaster. It’s not a coincidence that it has the most complete story and the best performances. We don’t quite know why Rosa wants to desperately hold onto the mansion despite the entire city being underwater, but at least there’s an arc there where she finally learns to let that go, and she’s rewarded for it. After having worked separately on their own vision, watching their individual pieces come together as a powerful storytelling unit resulted in great emotional satisfaction for the directors. To Walsh, his writing for “The House” relied on specific qualities distinct to each filmmaker.
The House (2022) Streaming: Watch & Stream Online via Netflix - Yahoo Entertainment
The House ( Streaming: Watch & Stream Online via Netflix.
Posted: Sun, 31 Mar 2024 07:00:00 GMT [source]
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 decides to stop indulging the couple, only for many members of their family to show up wanting to enter the house. He tries to call the police, who instead caution him for his constant, overly familiar phone calls to his dentist, who the film had led the audience to believe was his romantic partner. The dentist is also ready to take the developer to court if he telephones him again.
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Her short film “The Burden,” a festival darling released in 2017, is a musical starring a variety of mice, monkeys, and fish venting about their existential woes. For the filmmaking couple’s chapter of “The House,” one where the setting is perpetually under construction and often shrouded in darkness, they were keen on approximating the moody look of Gothic films that use their settings to achieve an uncanny atmosphere. While Baeza’s episode aimed for a hyper-realistic world, Roels and De Swaef, went in a different direction since they seek for the spaces to appear in harmony with the characters. “If the characters are made of textiles, we want everything else to also have some element about it that matches that that and absorbs the light in the same way,” Roels said. “Our stuff always looks pretty barebones and kind of weird when you see it in real life,” he noted. Their spooky period piece, about a family who sells their humble abode to a mysterious architect in exchange for a lavish residence, chronicles how the surreal place transforms the behavior of their felt protagonists.
A celebration of inventive stop-motion storytelling.
A young girl named Mabel lives with her father Raymond, mother Penny, and newborn sister Isobel in relative poverty. After a visit from wealthy, condescending relatives, Raymond wanders drunk into the forest at night and encounters the mysterious architect Mr. Van Schoonbeek. The following morning, Van Schoonbeek's employee Mr. Thomas visits the family and convinces Raymond and Penny to accept Van Schoonbeek's offer to move into a new luxurious house built for them at no charge. The House is a 2022 British stop-motion animated anthology film written by Enda Walsh and telling different stories forming a trilogy spanning different worlds and characters but set inside the same house. Each story deals with themes of madness, wealth, and the pursuit of true happiness. In the third story, directed by Paloma Baeza and set in the near future, the house is the only thing still dry in a completely flooded city.
The House (2022 film)
Despite the grimness of the stories, the expressiveness of the animation is what kept us engaged. In the first story, directed by Emma de Swaef and Mac James Roels, an impoverished family in the 1800s is given an offer they can’t refuse. Raymond (Matthew Goode) is shamed by his grouchy aunts and uncles when they come to see baby Isobel (Elanor De Swaef-Roels). He wanders the woods drunk, and receives an offer from an eccentric millionaire named Van Schoonbeck (Barney Pilling); he’ll build his family a mansion for free if they abandon their modest house. The house is huge and a bit airless, and older daughter Mabel (Mia Goth) finds that the millionaire is constantly making changes, and his representative, Mr. Thomas (Mark Heap), is losing his mind. The teams behind The House should be commended for making the most of their storytelling time.
In addition to these titles, Netflix also has many new and exciting projects slated for 2022. One of these projects is a new animated series entitled "The House." This limited series is different in a couple different ways from Netflix's more successful ventures. At the time, Porto was struggling with the deaths of her mother and father, who both died within the two years prior. She and Basterra also suddenly divorced in early 2013; Porto had an affair with a successful businessman named Manuel García, and when Basterra found out, their marriage fell apart, The Guardian reported. Yes, The Asunta Case is based on the real-life murder of 12-year-old Asunta Fong Yang.
All three parts of The House have their nightmarish aspects, often literally, as reality shifts around the characters, or ordinary objects are imbued with dread. In spite of the furry characters in the second two stories and the child protagonist in the first, this anthology isn’t meant for children. It isn’t violent or sexual, the usual signs of “not for children” fare, but its focus on unnerving the audience and unmooring the characters from reality makes it a more adult saga than most stop-motion projects. Maybe it isn’t saying much to note that Netflix’s stop-motion film The House features the most disturbing, skin-crawling, stomach-flipping vermin-based musical number since the 2019 CG-fest Cats. But it should count for something that this collection of three weird animated stories is so capable of unnerving an audience with something so gleeful and playful.
Chapter 3 rounds out the cast with Helena Bonham-Carter as Jen, the last tenant of the house. Also to appear are Paul Kaye and Susan Wokoma, the latter of whom has Netflix credits such as "Crazyhead" and "Enola Holmes" (via Vox). With voice actors of this repute, it stands to reason that "The House" will be quite impressive.
Though lacking the dark and gruesome imagery of the first two stories, it was this one that hit me the hardest, as I and so many of my friends have put our lives on hold indefinitely for the pandemic, again. I can only hope that, like Rosa and her beautiful home, we can find a way to sail into the flood. The first tale, titled simply “Story 1,” is directed by Marc James Roels and Emma de Swaef, a Belgium stop-motion filmmaking duo. Roels and de Swaef’s gorgeous set takes viewers back to the 1800s, where a family of four (all vaguely off-putting fabric dolls) is living in a modest home. After a visit from his overly critical mother, the father of the family, Raymond (voiced by Matthew Goode), takes a drunken midnight walk and makes a deal with a mysterious architect who offers to gift the family a new, luxurious house for free.
Elias (Will Sharpe), a shy black cat with a clear crush on Rosa, and the easygoing hippie-cat Jen (Helena Bonham Carter) gently dodge her hints about payment, and when Jen’s guru friend Cosmos (Paul Kaye) arrives, he further complicates the situation. “The House” is an animated anthology with an inspired narrative focus, as it tells the history of one building, across time and species. With its rising directors each employing a surreal style, it creates a rich balance of ethereal, existential storytelling with stop-motion animation that’s so detailed and alive you can practically feel it on your fingertips. 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.
Exploring the house one night, Mabel and Isobel find themselves lost in the maze it has become, eventually stumbling upon Thomas. Drunk and ashamed, Thomas confesses that he is an actor following a script provided by Van Schoonbeek. Meanwhile, Raymond is finally able to light a fire by burning the family's old possessions, including his father's chair and Mabel's dollhouse. When the sisters finally reunite with their parents, they find Raymond and Penny turned into furniture—Raymond into a chair and Penny into curtains. Using the curtains to climb out a window while their parents burn alive, Mabel and Isobel escape before watching the smoking house from a distance as the sun rises.
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.
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