You have likely heard of creepy stop-motion classics such as Coraline, Paranorman, The Nightmare Before Christmas, Corpse Bride, and Frankenweenie. However, Netflix’s The House offers a distinct and deeply unsettling experience that sets it apart from these well-known titles.
The House, released in 2022 on Netflix, is a British stop-motion anthology written by Enda Walsh. The film features three distinct stories, all set in different eras and versions of a house and all directed by different directors. Although each tale features an unrelated set of characters, they are all bound by overarching themes of obsession, consumerism, and perfectionism, and of course, are all connected by the presence of a house.
I – And heard within, a lie is spun
In the first story, told by the directing duo of Emma de Swaef and Marc James Roels, a young girl named Mabel (voiced by horror star, Mia Goth), lives in poverty with her mother, father, and baby sister, Isobel. After a peculiar architect offers to build a new luxurious house for the family, their life is completely turned upside down by the new changes made to their home. While Mabel and Isobel notice strange things about the workers and the architecture of the house, their parents are completely enamored by their new home and lavish lifestyle. The mother and father ultimately drift far from being attentive and loving parents, leaving the two young girls in a terrifying and heartbreaking situation.
The first story stands out as the most spine-chilling tale within the anthology, distinguished by its unsettling character design, use of body horror, unnerving music, and presence of intruders lurking within the shadows of a family home. The eerie story reveals that an obsession with wealth and material gain may not be as luxurious as it appears, especially when prioritized over one’s own family. If you are searching for a short horror story with strong lead characters, this is the perfect match.
II – Then lost is truth that can’t be won
*Some Spoilers Ahead.
Niki Lindroth von Bahr’s modern world features humanlike rats, along with some other unusual creatures. Raymond, a real estate developer obsessed with a house he is looking to sell, attempts to rid it of a bug infestation. During an open house, an odd couple—who appear to be a cluster of bugs in a rat costume—fall in love with the house. The couple stays overnight and invites their family, worsening the infestation. Eventually, the bugs welcome Raymond into their family, and he regresses into a bug-like state, chewing on the walls of the house he was once determined to fix.
The second story is by far the strangest, filled with creatures and bugs that make your skin crawl. Despite its unusual premise, the tale is sprinkled with dark comedic elements such as physical comedy, dancing bugs, and Raymond’s delusions.
III – Listen again and seek the sun
The final story, directed by Paloma Baeza, is set within a futuristic, apocalyptic world, also inhabited by anthropomorphic animals. Only this time, it is cats instead of rats. Rosa, a landlord, is obsessed with restoring the house she once grew up in, to the point of being oblivious to the dangers outside. Despite warnings from her tenants and friends about an encroaching flood, Rosa prioritizes fixing broken floorboards and putting up new wallpaper. When the water approaches her beloved house, Rosa envisions a future where both her house and current friendships are destroyed. She decides to break free from her past and take charge of a new life, one filled with friendship and hope.
While the final story does not feel as much like horror compared to the first anthology with Mabel and Isobel, it carries a heavy emotional weight. The story makes you wonder, and almost feel frightened, about the future if such an apocalyptic scenario were to happen. With the current political landscape and discussions over climate change, Baeza’s story feels the most relevant. Would you hold on to the past or adapt to an uncertain, ever-changing world? The third anthology is the perfect story to end on as it is hopeful, not necessarily of the world but of the relationships that bring our lives joy and purpose.
The House‘s Mature Themes
Compared to the films mentioned above, The House is not necessarily for younger audiences like Coraline and Paranorman are. The film delves into mature themes and is introspective, rather than the more whimsical, albeit spooky, narratives of some of the other popular “horror” stop-motion films.
All three short films are eerily poetic, exploring mature themes through dark stories and characters. The first short, riddled with societal expectations of the time, deals with greed, grief, and the loss of loved ones.
The second story stands out as a striking representation of mental health, as Raymond struggles with his delusions and compulsions. Despite trying to cope, Raymond’s fantasies, including an unknown partner who turns out to be quite different from what viewers expect, further show his deteriorating mental state.
The final anthology focuses on acceptance and moving on from emotional attachments that hold us back, especially overcoming attachments to material items. Though each story is only about 30 minutes, they are rich with symbolism and carefully craft their characters and overall world-building.
A Must-See For Both Horror and Stop-Motion Fans
The House is not only an impressive piece of stop-motion art but a beautiful and captivating exploration of the human obsession and the often-overlooked essence of what truly makes a home a home. The film captures not just supernatural horror but also the horrors of everyday life and one’s mind. In just an hour and a half, The House proves that it should be a household name, just as fan favorite Laika and Tim Burton movies are.
The House is available to stream on Netflix.
