The House: ¿Que esconde la película animada de Netflix? - The House: Netflix's rampant animate movie

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Quizas ya hayas visto muchas reseñas sobre esta película pero... ¿Que es lo que la hace tan maravillosa?

The House de Netflix no es la típica serie animada, en sus fotogramas de stop motion esconde un montón de símbolos adornados con horror psicológico. ¿Qué secretos esconde está peli? Acompáñame a descubrirlo en este nuevo video para la plataforma de 3speak.

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English

Horror is not only based on ghosts or paranormal events. The mind can be darker and darker than many think; We are overwhelmed by gray emotions, those that lead us to go crazy with greed, with superficiality, with narcissism, with loneliness. When we are attached to the materialistic world, feelings are ephemeral, as small as lightning flashes. The darkness in the heart comes with interest, with ego, with loss. Will there be any peace for the souls condemned to obsession? Netflix shows it to us in The House, an atypical animated film where madness is, neither more nor less, the adventure to human perdition. Three stories, a house, a single message: there is no escape.

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The House takes us back to childhood in a different way: we travel to a dream world where the images, as beautiful as they are chilling, show us the most daring criticism of the obsessions of the mind, body and soul. Reality fragments, voices multiply and fears transform into great monsters fed by the victim himself. How is it that this film pulls the psychological strings in such a sinister and surreal way? Today we will analyze the secrets that Netflix's animated work hides that a priori are difficult to obtain, but that are there to play with our senses...

Ready for a ride into your own nightmares?

Relativity in The House

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The House reveals three basic premises in a single context: a family that wants to run away from home, a mouse that wants to sell hers and a cat that doesn't want to leave hers. At first glance the stories are different, however, when analyzing in detail we will notice a connection in each timeline through the psychological conception of the protagonists. Through the minutes and frames in volume, the camera details in allegorical images the direction of the film that, like a puzzle, unites its plot threads until its final outcome.

We look at the science of the script in our own flesh; the three parts of the paradigm rip the screen and come to life like the beating of the heart. In the beginning this poor family arises where dad and mom, open to luxuries, decide to leave their humble abode to get a favorite life; a large house with wide curtains, wide spaces and gigantic stairs. Far from the ingratitude of her parents is Mabel, a girl who wishes to return to her small and simple home. She is the starting point: the origin. Further to the center, in a parallel dimension, is a mouse who has invested his savings in a self-centered abode invaded by slimy, dancing tenants. And in the end, Rosa appears as a finishing touch, a humanoid cat condemned to attachment and the infinite past. End? The directions of this film seem to be eternal, everything else will depend on the logic of the viewer.

Wacky animation.

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The House is a Stop Motion film; like a rare double crystal gem. The film combines the beautiful in psychologically creepy settings, and I say "psychologically" because every detail of the story is tailored for the trance of the mind. The characters, carefully destined for chaos and sentimental schizophrenia, change until they evolve into primitive forms. There are tiny eyes, small mouths and shiny fur that dance frame by frame in an animation with gloomy touches. We must not leave behind the dissonant music, sticky to the violin and perhaps the player piano. Sounds and images merge to energize fantasy and drama, karma and tragedy. From start to finish we embark on a very insightful journey for the flow of our neurons.

Three stories, three different visions

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Enda Walsh's script is fractured under the vision of four different directors; This gives an illusory depth to a film that intertwines meticulously studied shots from the beginning to avoid chance and provide more symbolism to the settings. On the one hand there is Marc James Roels and Emma de Swaef, who introduce us to animation with gloomy, mysterious, absurd touches. Psychological horror and existentialism gain strength in this first arc of the story to be replaced by the black humor of Niki Lindroth von Bahr, who uses madness and reason to confuse us in the second arc of this feature film. And with no desire to be left behind is Paloma Baeza, an excellent propitiator of tragedy and melancholy who, with strong allegories of beauty and restoration, outlines the last brushstrokes of this masterpiece of animation.

Archaic symbols

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The themes that this film touches on are not from another world: tragedy, obsession, materialism, loneliness, change, etc. However, this movie shows us another way of looking at the reality that we face in our thinking heads. It is an allegory, a metaphor, a reflection of how weak we can be in the face of our own shortcomings. We see a critique of bizarre lifestyles, that desire to pretend what we are not, and that need to cling to what will never come back. And there is more, much more. If you analyze the film very carefully, you will notice an even bigger message: a line of events that does not happen adrift. Be careful what your eyes see; reality can be accompanied by the unexpected surprise of those who listen in silence.

Why watch The House?

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The House is mature animation; something different, gloomy but at the same time moving. Few feature films achieve such a profound and enigmatic premise, which is why this film is unique. I can safely say that it is a movie that puts the brain to the test, and I am not just referring to the characters. A simple object can be the trigger of chaos and misery, just like the flapping of a small butterfly's wings. This time it is a house: a prison; a doom for the souls who build their own abodes in the valleys of self-destruction.