'The House' takeaway: Does the film compromise on the story to focus on artistry? 

Utterly enchanting and frequently disturbing, The House is Netflix's latest animated horror anthology that was released today. The movie tells three separate stories themed on a particular house. Set in different timelines, it focuses on the resistance of a somewhat 'cursed' house that stands the test of time while the residents are faced with horrors.

The film is no doubt a visual treat. The intelligent use of stop-motion to drive forward the element of horror, as well as the Wes Anderson-ish aesthetics that make the stories a soothing watch despite the underlying morbidity of the plot, must be given credit.

Note: This article reflects the opinion of the writer.

---

Overview of the three stories of 'The House'

Still from The House (Image via Netflix)

The first story concerns a poor but seemingly happy family living a modest life somewhere in the 1800s. The characters are portrayed as ragdolls which hold much significance for the plot of the story. Things go seemingly well until one day the family enters into a suspicious bargain with an architect whereby they are required to move into a much grander house. Lured by the grandoise, the family accepts the offer only to realize later what a grave mistake they made.

The second story brings viewers to present times where an anthropomorphized rat, who is a contractor, is desperately trying to sell the property he developed. Things look a little hopeful when a couple of buyers show interest, but that quickly takes a dark turn when they take the place hostage.

The final story is a little more hopeful than the last two. It follows Rosa and her obsession with the house which makes her live her life in denial of the reality around her. With the absence of properly paying tenants and flood water rising every day, threatening to drown the place, Rosa must let loose her attachments and move on.

---

Does the stop motion focus too much on the visuals?

Watching The House, it is very apparent that each of the shots are rendered with meticulous care. The fur on the animals bristle, making them lifelike, and the firelight dances off the beedy eyes of the ragdolls. The mist and the water around it, with its pinkish pastel hue, is a soothing experience, and the fur beetles infesting the house are so lifelike that it becomes repulsive to watch. If nothing, viewers are guaranteed to be left awed by the artistry of it all.

However, the direction and plot feels a little half-baked, compared to the splendid visuals that the creators have managed to manifest in the film. The first two stories brim with potential that remains unrealized. The first story is too simplistic, making use of horror tropes without much originality in the plot. The second story seems a little hurried, while the last episode went on for too long without much plot to do it justice. It seems that the balance between technicality and storytelling was somewhat lost in the stop-motion horror.

Catch the film now streaming on Netflix.