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“The House” is an animated anthology with a compelling narrative focus, as it tells the story of a single building through the ages and across different species. A series of short films based on the novel “The House,” written by Enda Walsh and directed by a different director for each installment, “The House” focuses on the anxieties that come with owning a home — whether it’s the control that others have over it, the critters that live within its walls, or the attachment that could lead to one’s demise. Each of its rising directors uses a surreal style, resulting in a rich blend of ethereal, existential storytelling and stop-motion animation that is so detailed and alive that you can almost feel it on your fingertips.
The gothic cloth animation of Emma De Swaef & Marc James Roels, who previously orchestrated the colonization mini-anthology short “This Magnificent Cake!” serves as the foundation for the anthology’s storylines. With a slow burn tale about a family who suffers from a Faustian homeowner bargain, they continue to impress with their eye for towering sets, intricate stark detail, and characters with tiny eyes and mouths. Mr. Van Schoonbeek (Barney Pilling), a “architect of great renown” whom the father Raymond (Matthew Goode) meets while walking through the woods, offers them a new mansion and furnishings for free in exchange for their cooperation. The only catch, or at least the only catch that they are aware of, is that they must vacate their current residence. Raymond takes advantage of the situation in order to elevate his social standing, to own the most beautiful house in the neighborhood, and to make others envious.
The extravagant amenities, such as the food that appears on a massive dining room table and the electricity that allows for complete illumination, quickly entice the family to move in. However, Mabel (Mia Goth), the young daughter, is more fearful as she begins to witness some of the stranger aspects of the building’s construction, such as the zombified workers who toil in the dark and suddenly remove the staircase in the middle of the night. As if things couldn’t get any stranger or more visually arresting, the parents are presented with clothes that look suspiciously like pieces of an ornate couch. That said, it’s an extremely effective spooky short in which the audience is drawn in by the events that are unfolding in the shadows, which includes the house being set up as an incomprehensible ruse.
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“The House” does not carry on with the more horror-oriented tone throughout the rest of the story, but rather plays on the notion of nightmares of discomfort. Jarvis Cocker stars in the second short film, directed by Niki Lindroth von Bahr, in which a rat developer (Jarvis Cocker) attempts to prepare a house for sale by fixing it up, room by room. However, in spite of his positive outlook and good intentions, he is revealed to be a pushover who encounters numerous difficulties along the way, such as an infestation of fur beetles that parallels the hopelessness of his pursuit of the treasure. Everything, including the food he orders for the show, is delivered in the wrong order, forcing him to improvise with hot dogs and ramen…. Two intimidating characters express interest in seeing the room and then staying the night, which causes things to get even more bizarre. They appease him by repeating the same words over and over, which become increasingly bizarre with each growl: “We are extremely interested in the house.” A grandiose and creepy-crawly musical number is included in this short, despite the fact that it is short.
The House Quiz
Jump ahead to the final chapter, written by Paloma Baeza, and the world has become even more chaotic while also becoming quieter. Having been stranded on a nondescript body of rising water, surrounded by a pink mist, the house has now been abandoned. Rosa (Susan Wokoma), the current cat landlord, is obsessed with the idea of renovating the place and has a detailed plan in place. The couple who currently resides in the house, Elias (Will Sharpe) and Jen (Helena Bonham Carter), do not pay rent with money, but they do share a kind of family bond with one another. While not the most depressing of the three shorts, this one illustrates how the promise of a home can be seductive, representing a desire to cling to the past even as the floor below you is slowly flooding. Another stunning piece of stop-motion animation, with lifelike sets and clothes that almost seem to breathe as the furry characters move through their environments.
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“The House” proves to be a dependable anthology in that it always maintains a consistent level of surrealism, levity, sadism, and entertainment. “The House” never holds the audience’s hand when it comes to the poetic flourishes that come from its mighty gradual pacing; instead, it prefers to be odd, such as with the logic behind changing from humans to rats to cats in the course of the film. If you look closely at the end credits, Cocker sings a melancholy ballad that may provide some insight: “This house is… oh, I don’t know what it is.” The stories want you to wander through its halls, taking note of how things have changed and how they have not changed over time.
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