Over the years the various cinematographic techniques they have seen moments of glory and progress. The evolution of technological possibilities has obviously eliminated, or even simply avoided, the structure through which previous stories were represented in favor of elements that were easier to manage and perhaps even more credible by the general public. This is the case of the so-called stop-motion (in Italian technical call a step one), modus operandi used very often in the past in animation and also in some films for special effects. As this is a technique that requires a certain type of expertise and time to devote to it, as the evolution of the computer graphics stop-motion has begun to assert itself and has been used less and less. This does not imply its total disappearance from the sets, but rather a more agile replacement with expressive possibilities designed by greater possibilities (we remind you, for example, the use of CGI in Jurassic Park with dinosaurs and the great difference it made at the time both in terms of concerns the general performance that the impact on the general public). The stop-motion, however, is not never extinct completely remaining anchored to some specific environments of artists who have always continued to work on it, even in a masterly way. The work we are going to talk to you about today fits right into the latter “Artistic category”, raising the greater possibilities. Let’s go and analyze The House, therefore, in our review.
A house with a thousand intimate facets
As the title itself suggests in the center of The House we find right a house. With this film, out in the catalog Netflix from January 14, we are faced with a set of stories, three to be precise, the common thread of which originates from this same house mentioned above to land in the various introspective analyzes of the protagonists that will follow one another. The entire film was made in stop-motion, in fact, and each episode bears the signature of a different director. These are: Emma de Swaef And Marc Roels, one is headed by Niki Lindroth von Bahr and another from Paloma Baeza. The fact that these are apparently fabulous stories with anthropomorphic characters should not deceive the viewer about the nature of the entire work, also because, and it is important to emphasize this in this review of The House, every single story is far from being addressed to a audience of children.
The atmospheres, for example, they are all aimed at striking the viewer, with a scenario that, although always the same, perfectly reflects both the protagonists who move there and the historical period in which the story is set. Each story, then, continuously oscillates between psychological, with moments in which the various individual neuroses also take precedence over the figurative dimension, and the kabbalistic, with a narrative pace in which anything can easily happen. Each of the three plots is introduced by a title detail that introduces the events in a smoky way and invites us to reflect afterwards on what happens on the screen. Every single story has its own meaning final, a particular climax to make conceptually meaningful what has been seen up to that moment.
The House however, it does not limit itself to telling stories with a basic moral, as we also saw in the Black Mirror review for example, here we go beyond simple reflections on what happens, exploiting the expressive possibilities of stop-motion to enter inside to the spectator himself. It all happens through choices disturbing, a montage suffocating And neurotic, and the construction of every single shot always “Shaded” and so “left”. A dirty and worn narrative context emerges, even when the house itself appears brand new there is always some shadow, something wrong and looming, difficult to read. Here the various protagonists will always find themselves having to deal with their choices, with themselves, with what they would like to do and with what I am really. Everything that surrounds them soon becomes a real projection of one’s ego and mask, even a reflection that starts from non-existent contexts to inevitably arrive at the present, the human being and all his imperfections.
The disturbing refinement
As also written above in The House, at the center of everything0 – in addition to the various stories – we find the aesthetics through which they are represented. Stop-motion therefore becomes central not only to an expressively nostalgic creative process, but also to a real one vehicle of sensations and emotions by the eye itself that looks. There perfection in the general rendering of this work it is impossible not to notice, with the always fluid use of the aforementioned technique, accompanied by an attention, even millimetric at certain times to scenic construction, photography, soundtrack (with prominent voices such as that of Elena Bonham Carter, for example, or that of Matthew Goodie) and the individual sounds on stage, direction and especially to the scenography. The world in which we move from story to story is roughly always the same. It is time to change and the approach of the various protagonists, as well as the figurative reflection of each individual director. Those who choose a more esoteric approach, with shots and moments capable of confusing, some a more psychological approach, in which the material dimension in action collides with the emotional and psychological one, some a more imaginative and philosophical approach, in contrast to the material dimension. aforementioned. Aesthetic work is it style general they are the very first thing they strike in The House, whether we are talking about the setting or its own protagonists in a treatise apparently belonging to the dimension of fairy tales but far from this, immersed in a series of nightmares not too far from the so-called “modern man”.
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