Netflix is coming in hot with The House — one of their first releases of the New Year. This anthology series dips into horror and existentialism while bringing lovable characters and a unique concept to the forefront.
The movie consists of three short stories, all helmed by independent directors Emma de Swaef and Marc Roels, Niki Lindroth von Bahr, and Paloma Baeza. It is produced by the award-winning production company Nexus Studios. The opening sequence sets the mood immediately as the stories are prefaced with an eerie acoustic song and black-and-white sketch animation focusing on the intricate angles and patterns within the physical house.
Story one, created by Emma de Swaef and Marc Roels, begins with the quote "and heard within. a lie is spun" along with a minimalist sketch of a stout analog clock. This tale focuses on a small family consisting of parents Penelope and Raymond, their eldest daughter Mabel, and their newborn Isobel — who Game ZXC found out through an exclusive interview, is voiced by the directors' baby. The eldest, voiced by Mia Goth, is the epitome of innocence. When the family is berated at a gathering for their lower social status, Mabel voices that she's happy at their small cottage as she interacts with the unwelcomed relatives, offering them sandwiches and companionship. However, it is clear that the parents aren't as resilient to the naysayers and they grow in silence and fear as their insecurities are preyed upon.
This allows them to fall victim to a peculiar arrangement that would spark major red flags for anybody on the outside of the situation. They are offered a sparkling new, huge house, accompanied with an array of house staff, neverending warm meals, and curated furniture. But as Mabel and Isobel's curiosity is piqued, it is revealed that these benefits come at a cost — unfortunately, their parents are already trapped under the allure and riches offered by the house.
Following the first story's abrupt ending, which is guaranteed to leave its viewers aghast, the second story comes with a refreshing wave of humor. However, that doesn't pull back from its bizarre elements because if there's one thing that each of these short and simple tales shares, it's a sense of unsettlement. Directed by Niki Lindroth von Bahr, story two kicks off with a drawing of a digital clock set to the time 5:59 am. Its quote reads, "Then lost is truth that can't be won," effortlessly prefacing the tale's theme of deceit.
Taking place in a dirty basement apartment, viewers are introduced to The Developer — a mouse working overtime in his real estate position. Viewers catch him fibbing through a series of phone calls, promising interested buyers and a luxury experience, failing to mention the lukewarm reception he's receiving and the bug infestation plaguing the house. As the story develops and as The Developer begins to lose hope, the story introduces an unconventional couple who is "very interested" in the house but would like to test the amenities first, inviting themselves to a good night's rest and immersive experience with all of the new appliances. It's clear that The Developer has a new infestation to deal with. It's easy to get lost in this story's twist-and-turns and creepy sensations as Bahr has a few tricks up her sleeves, throwing a few major surprises towards the end.
Last but certainly not least is Paloma Baeza's hopeful addition. At this point, viewers have experienced traditional horror and outlandish revelations, but it's finally time to wrap things up — and that's exactly what Baeza does. She brings forth a story of hope, redemption, and loneliness, introducing the feline character Rosa, a young landlady looking to renovate her house amid major flooding. Her tenants, voiced by Helena Bonham Carter and Will Sharpe, provide companionship and not-so-helpful materials in lieu of rent, but that's not enough to keep them in the desolate city. Prefacing this third story, and the end of the anthology, is a sketch of a ticking pocket watch and the words, "listen again and seek the sun".
While the melancholic conclusion of the third story, and the anthology, may seem out-of-place to some, it completes the story. Each of these tales was accompanied with exquisite puppets and backdrops signifying high-production value. The directors' love for the craft and the dedication to storytelling shone through the anthology, making it was clear that they respect their audience and want to put forth a cohesive, emotional journey. And they did as such.
The House felt reminiscent of our ever-changing relationship with our physical homes during times of distress, most recently the COVID-19 pandemic. It started off with this lingering, creepy feeling, making its subjects and the viewers feel confined inside of the dwelling. The second played into this idea of superficial renovation and the desperation to find solitude through materialism as viewers watched The Developer mask his loneliness and the flaws of his home with imaginary relationships and packages delivering new, flashy appliances. And the third brought a wave of realization and acceptance as Rosa realized that, in the face of disaster, she can't make her house into a "home" with wallpaper and new flooring.
To call The House “good” is a vast understatement. It’s bizarre, creepy, and gorgeous, investing in beautiful aesthetics and a new form of storytelling for the Netflix platform. It’s an anthology series that best exists as a collective, as each story and director brings something unique to the small screen. While picking up on its social commentary is key, it refuses to be "in your face", instead opting to be expertly subtle.
The House will premiere globally January 14 on Netflix.
The House
2017's The House is a comedy film by director Andrew Jay Cohen and starring Will Ferrell and Amy Poehler. The film follows two parents who hope to pay for their daughter's college only to find out their hopes of a scholarship and funding have been dashed. To make sure she gets in, they attempt to open a secret Casino in their home.