By Ethan Stinson

Perplexingly billed by Netflix as a dark comedy, “The House” is a stop-motion animated fantasy horror film presenting three self-contained stories centered around the titular abode. While slight instances of humor present themselves throughout, the heart of the anthology is its macabre, dramatic depiction of real-life living situations.

“The House’s” first part, “I – And heard within, a lie is spun,” starts off the film on a dark, peculiar note. Functioning as an origin story for the eponymous house, the story finds an impoverished couple falling under the spell of their extravagant new home, neglecting their two daughters in the meantime. The most open-ended of the three segments, this disturbing story instantly draws in viewers with its bizarre character designs, grim tone and its fantastical depiction of how greed can divide families. 

Jumping ahead to a modern-day setting, the film’s second segment, “II – Then lost is truth that can’t be won,” foregoes a human cast of characters in favor of anthropomorphic rats. Placing the house in a more mundane situation, the story depicts a realtor’s worst nightmare as a pair of unusual potential buyers refuse to leave the house. To further escalate the situation, endless hordes of beetles continuously invade the property. Although this segment sports the thinnest narrative of the three, it arguably boasts the best visuals, as seen in instances such as a zany beetle-centric musical number reminiscent of “Dumbo’s” “Pink Elephants on Parade” sequence.

The film’s final act, “III – Listen again and seek the sun,” stands as the most optimistic of the three stories. Following a group of humanoid cats living in a flooded Earth, themes of accepting change, letting loose, and embracing one’s friends are central to this post-apocalyptic story. Showcasing a positive outlook on life and the future, the segment ends the film on a sweet, satisfactory note.

In the spirit of films like “Coraline” or “The Nightmare Before Christmas,” “The House” utilizes the stop-motion medium to depict horror in a tasteful, non-exploitative fashion. Namely, the film uses morbid character and set designs to fill viewers with a sense of dread throughout. 

An unnerving atmosphere is also derived from the social situations depicted. Through the situations and visuals displayed, the first two segments are more obvious horror stories. However, each story, especially the final, subtly presents horrific qualities in the form of real life issues and fears, whether it be coping with poverty, experiencing difficulties in the workplace or struggling to deal with change.

Though each story boasts its own charming story and darkly captivating sights, their varying quality hinders “The House” from reaching its full potential. Following the first segment, the second noticeably represents a decline in narrative and thematic girth, instead serving as more of a fluff piece between two stronger stories. The third segment, though bolstered by solid themes and an uplifting ending, is set back by its protagonist, whose aggressive, unforgiving nature gives viewers little reason to relate to her for a good portion of the story.

With a distinctly morbid visual style, fantastical stories and resonant themes and situations working in its favor, “The House” brings a much-needed breath of fresh air to fans of the stop-motion genre. Its use of one contained setting to tell three distinct stories, as well as its mixture of real-life and fictional horror, warrant considerable admiration.

Image from Netflix via YouTube