A house inhabited by curses and human rodents

The second story takes place in America during the recession of 2007-2009 (Netflix)

The House (“Home Tales”, 2022) presents three animated stories that tell the imaginary history of a large storied house that has been through several times and different settlers, ranging from humans, rodents and talking cats. Written by Irish playwright Enda Walsh, and each directed by a different director, Emma de Souve, Mark James Royles, Nikki Lindroth von Barr, and Paloma Baeza, their work shares a confusing and surreal tone, describing the complex relationship that built by residents. their people or animals, with their dwellings, whether they were taken away from them, or they were taken away by force, or they merged with them to the point of disappearing and perishing.
The first story is about a poor country family who are overrun by a visit from their rich, arrogant relatives. This visit causes great inconvenience to the father, Edmund, who decides to make an agreement, similar to that of Faust, with the architect of Schönbeck to exchange their old house for a new one furnished with the latest furniture.
The family moves into luxury housing and soon falls into the trap of overusing all the freely available amenities in the house, except for young daughter, Mabel (Mia Goth), and her baby sister, who see in the shadows what her parents (Matthew Goode and Claudia Blakely) cannot see. The mists of greed, like construction workers immersed in suspicious darkness and silence, and the engineer’s daily adjustments to the structure and furniture of the house, down to the new uniforms Schönbeck gives greedy parents, which he fashions as household furniture, will swallowing the parents’ bodies at the end of the story until they become pieces of furniture to eat.
As for the second story, its main characters talk about rodents. An unnamed software developer (Jarvis Cocker) puts a luxury house up for sale and tries to superficially hide its many flaws, the worst of which is an infestation of bugs and insects. and cosmetic solutions that do not address the problem. The developer manages to attract the attention of two clients, two lenders, who ask to see one of the bedrooms, and then decide to stay in it for no reason other than their continued interest in the purchase. of the house to the developer who complies with their wish, until they completely take over his house with a group of other friends and family.
The third story is no less strange. It concerns a housewife, Rosa (Susan Wakuma); A cat lives in a house where everything around him is flooded with water due to a flood. However, she refuses to give in to the soon-to-come flood, and every day makes numerous plans to renovate the house, constantly tries to re-stick the wallpaper dripping with moisture, and asks her two tenants, more correctly to to call survivors, to pay money for their stay, even if the money is no more It has value in the middle of that place that is isolated from what surrounds it with water. The tenants leave to find a safer place to sleep, and finally Rosa is persuaded to leave as well, so she moves her house on the sea elsewhere.
It is difficult to summarize the three stories in specific meanings, since the movie “Home Tales” deliberately leaves the viewer with a flood of questions, instead of providing clear and easy answers, to surround them with a puzzle which allows the viewer to be with his natural, but without being satisfied with his curiosity, therefore he embarks on a Journey to understand the logic behind it, looking for visual clues that enable him to connect the stories with each other connect and deduce the meaning behind it.


The first story conveys a dark Victorian atmosphere, but is largely based on Greek theatrical drama, in which the tragic flaw, a character flaw, kills the hero and causes his early death. Greed is the tragic flaw of Edmund’s gluttony for success and luxury, unwilling to work hard to get what he wants. Edmund eats very greedily, and does not hesitate to burn the furniture of his old house, including his daughter’s playhouse, to light the fire of the new fireplace. He rejects the world he belongs to, and the world he longs for , also rejects him, prevents him from belonging to it, since the constant modifications to the construction of the house negate the idea of ​​stability and familiarity that characterizes the concept of the house and replace it with new objects that are thrown, changed and modified with each new day.
Also, the woman sticks to the sewing machine all day, which alludes to contemporary slavery and its indirect ways of voluntarily turning people into profit machines. People rely on material necessities, to the extent that they disappear in front of them, to become their only identity, which was expressed by the two directors with the transformation of the couple into pieces of furniture, like those they have always dreamed of owning . . The desirable and the holy turn into an endless hell and nightmare in the first story, the dream turns into a murderer, and the house into a pyre.
As for the developer’s story, set during the recession period between 2007 and 2009 in America, it deals with the dreams of the middle class and its constant struggle to move away from the very close poverty line, with investments threatened with loss. , due to the lack of success factors of expertise, experience, knowledge and large capital that can withstand major financial shocks.
Unlike a rich investor, the developer fears loss because he cannot afford it. “I have invested my whole life in this house,” shouts the protagonist, as he watches his new home crumble and its infrastructure slowly erode before his eyes. The second story suggests that the poor are not skilled traders but are prisoners of their material fears, making them very vulnerable to failure in their ventures.

When the developer sees a profit opportunity, represented in the potential buyers, he becomes the hostage and slave of that possibility, despite his sure knowledge of the smallness of the opportunity, since the potential buyers offer no benefit to the developer, but lives at his expense, and destroys his house, turns it into a failed investment, and is satisfied By repeating the sentence: “We are very interested in the house”, which constantly makes the developer gasp for “opportunity”, and him of a talking change. rodent in a real rodent, he walks on all fours and destroys what is left of his home with his teeth.

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After the high dose of gloom in the previous two stories, the third story offers little hope in its imagined ending. Froza, who has been clinging to her faded home for so long and trying in vain to restore it, finally accepts the idea of ​​moving forward, and help comes to her from where she never expected; At first irritated by his visit, a hippie cat is finally convinced by his strange and practical approach, so she abandons everything that previously bound her, and navigates her home into the unknown she previously feared, choosing to live in her imaginary safe space to remain.
Produced by Nexus Studios and broadcast by Netflix, the film offers unparalleled visual awe, tremendous ingenuity in animation technology and the ability to capture sensory details and different eras, while also emphasizing their intertwining, from the nineteenth century AD to the second millennium, all the way to an imagined dystopian world, representing the future, the story spans time, sharing ideas of materialism, capitalism, greed, idealism, loneliness… and salvation.

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