‘The Wolf House’ review – Variety

If any Orvilleian fiction in Salvador Dali’s veins had been conceived by a surrealist, the result would have looked and felt something like “The Wolf’s House”, a jaw-dropping marriage of various animation techniques, mainly stop-motion. Dystopian storytelling with the hunting echoes of “Three Little Pigs” and “Red Riding Hood” changed this image, terrifying nightmares in the dazzling and equal work of filmmakers Cristabal Lane and Jacqueline Kosia, while leaving fascination in front of an unobtrusive test of fascism. Can Listeners will often ask themselves, “How on earth did they pull it?” As the characters and objects grow, evolve, and transform into a relentless rhythm – the whole movie is shot to suggest a single sequence – though feeling restless, even fearing their bones because they are not always able to identify.

This is because the breathtaking yet abstract artwork of “The Wolf House” feels so amazing. Perhaps it comes closer to the feature of the experience compared to the David Lynch film. And a look at it could greatly benefit some Wikipedia-level acquaintances with the history of the Chilean-based Nazi community colonia Dignidad (Dignity Colony), founded after World War II, which lends the film its original narrative loosely. The idea was formed to represent a simple agricultural life, the religion was known for its oppressive behavior and murder, especially during the reign of Pinochet and its longtime leader Paul Schaefer, a convicted pedophile and notorious criminal.

Although they are not explicitly explained, these roots are briefly teased in “The Wolf’s House” which is inspired by real-life events from the colony and is masked as a promotional picture by the driver, described by a Schaefer Sergeant. An inaugural short film starts with a stylish story. Drawing an idealistic portrait of the hard-working cycle away from the land (think of it as the equivalent of M. Knight Shyamalon’s “Village”), this section serves as a warning against the loss of a beautiful but often dreamy commune. Did after spending three fleeing pigs for the tribe. And so we get caught up in Maria’s emotional stress when she escapes the pressures of her family and takes refuge in a remote home. Without the herd of two pigs, the life of an animal that was not by her side, Maria soon realizes that her sensitive shelter responds to her fears, aspirations and thoughts and changes herself accordingly with every waking second. There seems to be a wolf somewhere, spying on Maria in absolutely Big Brother-Escu fashion.

In the days of the Cobid-19 breakup, if the above look of solitary confinement seems too close to the vertebrae or bones, then wait for what Leon and Kosi have to do. , Leaving it only a few seconds later with the jaw-dropping invention And to redefine. As handmade doll-like figures and animated drawings, the pigs are made from the floorboards of Maria’s house, but later become a pair of babies with animal parts.

Everyday accessories, sculptures and symbols are raised on the delicate walls and windows (there is even a swastika for a split second look), or dips and comes out of the toilet bowl, then splinters, melts or burns and reveals their interior. Even Maria herself has changed several times and caught the crack, as her image is swaying between the tree and the hen yellow bird. It’s an endless adaptation that somehow unfolds like real-time art installations, and with all honesty it can be a touching occasion to take in – this is why the digital release of “The Wolf House” is a blessing in disguise, as listeners appreciate the detail levels of this wonderful film. Can re

Beware though that this repetitive philosophy may appear in “The Wolf House”, as the film’s atmosphere shifts from sweet comfortable to soul-sucking and back; Known to most people around the world today is a surprisingly timely, individualized mentality sy even more terrifying it reveals the story about the catastrophe and horror of totalitarian rule; Everything you want seems relevant enough today.