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Last week, The Sweet East was the option for those seeking something different, this week it's writer-director Paul Mercier's turn to step up and sidestep. The latest demonstrations came after student protesters took to college campuses across the country this week to express their discontent of the Israel-Hamas war. The protests led to multiple arrests at Emerson College in Boston and the University of Southern California after university officials called police to end the demonstrations and make arrests. Insiders have told the outlet that Johnson showed up as much as eight hours late to set on the movie, essentially forcing the crew to shoot around him. The historic Jones Bay Wharf is another familiar filming location in Anyone But You. The hidden gem in the Pyrmont district is home to fine dining restaurants, charming cafes, and beautiful views the of the city and Harbour Bridge.
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The house is now marooned on a nondescript body of rising water, surrounded by a pink mist. But the current cat landlord Rosa (Susan Wokoma) is obsessed with refurbishing the place, and has a whole plan charted out. Meanwhile her two current tenants, Elias (Will Sharpe) and Jen (Helena Bonham Carter), don’t pay rent with money but they do share a type of family bond with each other. As the least bleak of the three shorts, this one shows how the promise of a house has a seductive power, representing a desire to cling to the past even when the floor below you is slowly flooding. It’s also another striking feat of stop-motion animation, with lifelike sets and clothes that practically breathe as the furry characters move.
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The only catch, that they are aware of at least, is that they must give up their current home. Raymond jumps the opportunity as a means of status, to have the nicest house in the area, and make others jealous. In the second segment, from Swedish director Niki Lindroth von Bahr, the characters are rats. While the bones of the house and the lines of its exterior are exactly the same, it seems to be a different place entirely — an airy, spacious home located in a bustling city. But the house is infested with hard-to-eradicate fur beetles, which have other ideas for the place. And that somehow ties into a different form of home infestation that the Developer has a hard time shaking.
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Set in the modern-day in a world of anthropomorphic rats, a nameless contractor (voiced by Jarvis Cocker) cuts corners by firing his construction crew for a renovation, hoping to do a quick job of it himself in order to upsell a shoddy home to a rich sucker. 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.
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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. Back home, Frank convinces the Johansens to start an underground casino at his house to raise money for Alex's tuition and to help him get his wife back.
Beyoncé Drops New Single ‘My House’ Following Release of ‘Renaissance’ Film - Variety
Beyoncé Drops New Single ‘My House’ Following Release of ‘Renaissance’ Film.
Posted: Thu, 30 Nov 2023 08:00:00 GMT [source]
More Reviews by Tara Bennett
The House is a 2017 American comedy film directed by Andrew J. Cohen, and co-written by Cohen and Brendan O'Brien. Each story is a standalone, with Chapter One directed by Emma De Swaef and Marc James Roels, Chapter 2 directed by Niki Lindroth Von Bahr, and Chapter 3 directed by Paloma Baeza. Each director uses the techniques of the medium, but their aesthetics, visual approaches, and narrative styles are all deeply unique and rewarding in different ways. If you’re a fan of animation, all three are visually sumptuous exercises that challenge the boundaries of the medium. This is strikingly cinematic filmmaking regardless of the housebound constraints within each story.
A young girl named Mabel lives with her father Raymond, mother Penny, and newborn sister Isobel in relative poverty. After a visit from wealthy, condescending relatives, Raymond wanders drunk into the forest at night and encounters the mysterious architect Mr. Van Schoonbeek. The following morning, Van Schoonbeek's employee Mr. Thomas visits the family and convinces Raymond and Penny to accept Van Schoonbeek's offer to move into a new luxurious house built for them at no charge.
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“If the characters are made of textiles, we want everything else to also have some element about it that matches that that and absorbs the light in the same way,” Roels said. “Our stuff always looks pretty barebones and kind of weird when you see it in real life,” he noted. Pictures, received negative reviews from critics[3] and flopped at the box office, grossing $34 million worldwide against its $40 million budget.
His troubles multiply when a pair of supposed potential buyers who come to the open house event refuse to leave. But the story is too underbaked to deliver any real horrors or work as a fable about violation, or capitalism or any of the other themes it seems at various moments to be nodding vaguely at. The second story, directed by Swedish animator and filmmaker Niki Lindroth von Bahr, takes things from “gothic children’s fairy tale” creepy to straight-up horror movie creepy.
Film Forum · HOUSE ハウス - filmforum.org
Film Forum · HOUSE ハウス.
Posted: Fri, 16 Feb 2024 19:27:34 GMT [source]
Years later, they unexpectedly reunite at a destination wedding in Australia for Bea’s sister, who is marrying Ben’s friend. The film was directed and co-written by Will Gluck, the filmmaker behind rom-coms like Easy A and Friends with Benefits. It was released in December and had an impressive run at the box office, surpassing $88 million domestically and $219 million worldwide, according to Box Office Mojo. The three-story anthology explores the many definitions of what a house can be using different tones and techniques.
To Baeza, cats are poised creatures, making them the ideal subjects for her segment. Her heroine, Rosa (Susan Wokoma), owns the house and runs it as an apartment building in a reality where sea levels have risen due to climate change. Lindroth von Bahr has frequently used anthropomorphic animals as the main characters in her work. Her short film “The Burden,” a festival darling released in 2017, is a musical starring a variety of mice, monkeys, and fish venting about their existential woes. They move from their little home to a much grander, specially designed, fully furnished affair built on a nearby hilltop, where every modern convenience is supplied – lights come on automatically as it gets dark, all meals are provided. You don’t have to have recently watched the BBC’s thriller The Girl Before to get a bad feeling about this, but it helps.
Roger manages to escape with Jimmy but is soon confronted by an undead Big Ben who wants revenge on him; Ben was taken prisoner and tortured before dying, and he blames Roger for failing to kill him before he could be captured by the enemy. Roger confronts Ben, no longer afraid of his fears, and destroys him with a grenade as he and his son escape the burning house. In the end, he triumphantly glances back at the house while regaining control of his life and reunites with his wife and child. After his aunt's funeral, Roger decides to live inside her house to write instead of selling it, as recommended by the estate attorney. After moving in, Roger begins to have powerful graphic nightmares, including thoughts about his comrade, Big Ben, who died in Vietnam. In addition, strange phenomena spring forth from the house, haunting him in his waking hours.
Ferrell and Poehler can only do so much with barely-there characters in half-baked situations. Because they hardly feel like people—about halfway through, I realized I didn’t even know their characters’ names—the extraordinary scheme they’ve concocted for themselves makes no sense and has no momentum. It also has no laughs, or at least precious few, which is why a movie with this caliber of star power is being sneaked into theaters without being shown to critics ahead of time. Across different eras, a poor family, an anxious developer and a fed-up landlady become tied to the same mysterious house in this animated dark comedy. 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.
