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Produced by Nexus Studios and currently vying to be the first animated film ever nominated for Outstanding Television Movie at the Primetime Emmy Awards, “The House” brings together some of the finest artists working in stop-motion today. In “And Heard Again Within a Lie is Spun,” De Swaef and Roels tell the tale of a family who move into a lavish mansion with seemingly ever-shifting interiors. Lindroth von Bahr’s “Then Lost is Truth That Can’t Be Won” finds a real-estate developing rat struggling with a vexing listing (and perplexing prospective buyers). Baeza concludes the anthology with “Listen Again and Seek the Sun,” in which more anthropomorphized animals — cats this time — try to save the house from encroaching flood waters. The second episode takes place during the present day and is directed by Niki Lindroth von Bahr.
What regions are getting House on Netflix?
Think Wes Anderson’s Fantastic Mr. Fox meets David Firth’s Salad Fingers – or, going back further, Ray Harryhausen’s 1963 film Jason and the Argonauts – to get a sense of The House’s visual style and tone. The House is a surreal and unsettling horror-comedy series that feels like a Wallace and Gromit-cum-David Lynch fever dream; its interconnected stories seemingly serving as one big parable for how we live our lives in the present day. There are some missteps with its overall execution and finale, but The House largely delivers on the creepy vibe that its teaser trailer promised. From animated fare in Love, Death and Robots to live-action projects including Black Mirror and Mike Flanagan’s The Haunting series, the streaming giant is making a concerted push to achieve that goal.
THE HOUSE: STREAM IT OR SKIP IT?
The developer renovating the house recently laid off his entire construction crew to reduce costs and must do all the work himself. Discovering the house has been infested by fur beetles and larvae, he uses copious amounts of boric acid to get rid of them, to no avail. "Set in the present day, a harassed property developer tries to make a quick sale from a renovation. However, some eerie unexpected guests have other plans and become the catalyst to a more personal transformation." In the first story, directed by Emma de Swaef and Mac James Roels, an impoverished family in the 1800s is given an offer they can’t refuse. Raymond (Matthew Goode) is shamed by his grouchy aunts and uncles when they come to see baby Isobel (Elanor De Swaef-Roels). He wanders the woods drunk, and receives an offer from an eccentric millionaire named Van Schoonbeck (Barney Pilling); he’ll build his family a mansion for free if they abandon their modest house.
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The House, produced by UK-based Nexus Studios and streamed by Netflix, is an adult stop-motion anthology special. Three stories of roughly half an hour each are set in the same house in different eras. The first two have a spooky twist, the third is a more straightforward if dystopian tale. Most notably, "The House" employs stop-motion animation visuals to tell the story. Judging by the trailer, the series appears to be one of the most disconcerting vehicles Netflix has put out there.
Netflix Animated Comedy ‘The House’ Season 1: What We Know So Far
He’s in over his head—the place has a nasty infestation of wriggly, crawly bugs that won’t go away with simple spraying. But despite his disastrous showing, an old, unsettling rat couple is “very interested” in the house. To say it doesn’t end well for the contractor is putting it mildly—the final, haunting shot is an image so viscerally disturbing, so relentlessly bleak, that I’ll be thinking about it for weeks to come. And yet, it is also an artistic triumph achieved by destroying such a meticulously-built set. The first tale, titled simply “Story 1,” is directed by Marc James Roels and Emma de Swaef, a Belgium stop-motion filmmaking duo. Roels and de Swaef’s gorgeous set takes viewers back to the 1800s, where a family of four (all vaguely off-putting fabric dolls) is living in a modest home.
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Like the first two chapters, the final story centers on a single-minded striver obsessed with her house, and watching her ambitions deflate around her. But where the first story is chilling and the second one is saddening, the third has other ambitions that make the whole project fall more clearly into place. All three parts were scripted by Irish playwright and screenwriter Enda Walsh (best known for 2008’s gutting historical film Hunger, directed by Steve McQueen and starring Michael Fassbender).
Case closed: Dead Boy Detectives is a hell of a good time
(Talk about controlling.) They see the scene of the family’s murder replay on the monitors, so Crystal comes up with the idea to record over the VHS tape of the family to stop the time loop. As you watch the eerie series, you might have questions about the characters, including who is dead, alive (or immortal). To help you out, here’s our spooky guide to the main cast of Dead Boy Detectives and where you might recognize the actors from. As mentioned, House won't be gracing our Netflix screens in the US or UK this time around. However, according to What's On Netflix, the medical drama is set to make its streaming comeback only in "select countries", which include select European and Latin American regions like France, Brazil and Argentina. At his wit's end, the developer tries to use the boric acid on the couple, but he inhales a mouthful and faints.
When is House being released on Netflix?
As Crystal faces “David the D” in his liminal space domain with floating eyeballs, the Dead Boy Detectives’ psychedelic tone stays intact — even though this case and episode is extremely dark. Charles is “the brawn” of the Dead Boy Detectives, and as Revri says, always tries to be exceedingly charming, with a smile on his face. When Crystal comes to check on him, he shares that, like Mr. Devlin, his own father was controlling, and that no matter how nice he was or how good at sports he was, nothing he did would ever be good enough for his old man. Netflix currently accounts for just 8.1% of TV viewing time globally, and its share is less than 10% in every individual market. So it still has a small market share not only as a portion of overall TV time, but also in the streaming industry itself (despite being the largest player).
In terms of the individual stories, Chapter One makes a strong argument for itself as the most successful of the three just because of its precision in telling an M.R. James-esque tale of a family trapped within the walls of a house created to torment the adults within. The creative team also introduces us to a sister team for the ages with Mabel (Mia Goth) and Isabel. The pint-sized protagonists, with their smooshed faces, are voiced and acted so endearingly that they elevate the heart and the stakes of the whole piece. The sheer labor alone involved — meticulously assembling and then moving puppetry ligatures frame-by-frame to replicate movement more easily achieved on paper or inside a computer — is mind-boggling. It’s a niche art embraced by the very few, so when Netflix invests in its ongoing existence with a worthy project like The House, that’s something to celebrate.
The first tale, occurring in the 1800s, is centered on a poor human family that moves into ‘the House’ following a chance encounter with a mysterious but eerie benefactor. The second plot follows an unnamed humanoid mouse (Jarvis Cocker) in the present day, who works as a property developer and, after coming into possession of the building, battles some unexpected guests as he tries to renovate it. Set in the near future, the final story introduces audiences to Rosa (Susan Wokoma), an anthropomorphic cat who struggles to restore ‘the House’ – which was her childhood home – to its former glory. In the one directed by Niki Lindroth von Bahr, the house is being renovated in the present by an embattled developer (voiced by Jarvis Cocker). We first meet him while he is trying to attract further investment and to repel an invasion of “fur beetles” (this time the characters are anthropomorphised animals – the Developer, who is given no other name, is a rat). His troubles multiply when a pair of supposed potential buyers who come to the open house event refuse to leave.
Sure, the animation style isn’t widely employed in modern productions but, while Nexus uses stop motion to add some horror-based artistic flair to proceedings, the overall animation is pretty fluid. Those unaware of Nexus’ use of stop motion and puppetry may even believe the miniseries’ aesthetic was created using VFX and CGI effects – a compliment that shows how seamless some of The House’s animation is. Unsurprisingly, it’s the first story that sets the entire miniseries in motion. ‘The House’ is only built after the eerie benefactor slyly convinces the family’s drunk husband and father Raymond (Matthew Goode) to trade their lowly cottage for a life of so-called royalty. Sure enough, it soon emerges that even in Edwardian-ish times there is no such thing a free breakfast, lunch or tea.
Based on the critical reception of similar projects, Netflix should have high hopes for its next multi-narrative production. The House, a stop motion anthology miniseries from Nexus Studios, whose previous works include Billie Eilish’s Happier Than Ever Disney Plus animated special, seems well placed to continue Netflix’s anthology hot streak. Curiously, that final segment also allowed Santaolalla to deepen his involvement with “The House.” When he first read the script, he noticed there was a shaman-like character named Cosmos. Being a throat singer, he thought the technique could enhance the character. Nexus first gathered the directors of “The House” for a brainstorming session in London three years ago.
Charles’ devastating reveal calls back to the end of Episode 1, when Charles shows Crystal how he checks on his parents through a looking glass mirror once a week. He wants to make sure that his father doesn’t physically beat his mother like he used to hurt Charles. So once they’d finished the pilot and Episode 2, he read Episode 3 and “realized why he puts on such a front of happiness. Because under all of that is a 16-year-old boy who didn’t have a stable family or friendship group,” he says. “It’s an earworm from the correct decade, so we’re already winning,” says co-showrunner Steve Yockey. “Such a great start to our loop.” Not to mention rewind and replay their murders like a nightmare VHS tape because the emotional trauma of their deaths was visceral enough to leave a psychic imprint on the house.
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