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The movie has moved up the charts by 8041 places since yesterday. In the United States, it is currently more popular than Galaxy of Terror but less popular than I Eat Your Skin. When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission.
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” as characters and objects emerge, evolve and transform in a relentless rhythm — the whole movie is shot to suggest a single continuous sequence — while feeling disturbed, even frightened to their bones for reasons they won’t always be able to pinpoint. Could “The Wolf House” have been condensed into an Oscar-worthy short subject? Though it marks the debut feature of Cociña and León, it barely clocks in at feature-length, and as soon as its themes have been established, they grow repetitive. León & Cociña have enjoyed a steady breadth of work since teaming in 2007, both filmmakers and animators with experience in installation and design; their work featured in MOMA and Tate Modern collections.
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In 2018, the pair released their first animated feature, “The Wolf House,” which debuted to acclaim at the Berlinale. Their recent short film, 2021 title “The Bones,” was executive produced by Ari Aster (“Beau Is Afraid”) and Adam Butterfield (“Living With Yourself”) and saw its premiere at the 78th Venice Film Festival, claiming its Orizzonti Award for best short film. After parking in the south lot, head up the short, tenth of a mile trail to the beautiful stone building that is now the museum. The museum was built by Charmain London as a memorial to her husband’s life and work. Joaquín Cociña and Cristóbal León introduce their 2018 stop-motion masterpiece The Wolf House (La Casa Lobo) as a piece of rediscovered archival media. Using a faux-documentary framing, they claim that the film is a cheerful curiosity produced by members of “The Colony,” an intentional community of hard-working German families living in Chile who produce delicious honey.
OPINION REX NELSON: Along the North Fork Arkansas Democrat Gazette - Arkansas Online
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María ignores the wolf's repeated attempts to tempt her back to the Colony and denies its description of the house as a new kind of cage. Lautner designed the home around multiple native trees, allowing the space to feel firmly grounded in nature. The organic features contrast with carefully integrated uses of stone, glass, and copper. This magnificent home was designed and built by John Lautner in 1961.
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They want to showcase the found media to dispel rumors that have circulated about the group, but as we soon see, it’s really propaganda to discourage people from ever fleeing. Despite its reputation among outsiders for tired tropes and repeated story lines, horror is constantly reinventing itself. For every new iteration of Scream or The Conjuring, there’s a movie released into the underground that threatens to completely upend everything we know about horror. These films sometimes go onto become cult classics; other times they’re forgotten.
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Rather than being pure, Maria’s house becomes violent and frightening, an idea that is underscored well by the rotting and shuddering visuals of the movie. Originally envisioned as a sanctuary and a place for a fresh start for disgraced German Nazis, it fell into the same authoritarian and violent practices that they had just escaped from. In this way, Maria’s house can be viewed as both an escape from the Colonia Dignidad as well as an allegory for it. With the Colonia Dignidad as context, it makes sense to think of the wolf as guilt or even generational trauma.
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She flees through the woods and finds a house where the entirety of the stop-motion takes place. The lack of conventional edits makes us feel all the more entrapped, as new sequences begin only when we enter a new room or the frame of a portrait. When Maria first enters the house, we seem to be viewing the space from her perspective—that is, until she materializes in painted form on the wall before coming to life as a puppet comprised of paper, cardboard and masking tape. This European style house has a luxurious interior design and has a spectacular view of the city lights of American.
In her transition from inside to outside pavement moves to the walls and the spaces between the stone walls and the inner glazing. Those that don’t know much about Chile’s history may just assume that The Wolf House is inventing some kind of nondescript, creepy, cult-like backdrop for the movie. But the German community that the movie is based on is actually completely real. Called Colonia Dignidad, it operated for decades with two distinct and very dark reputations.
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As the wolf notes in Christ-like fashion, he remains inside his followers at all times, even those who have strayed. Some of the eeriest moments occur when his eyes appear on the wall, peering into Maria’s shoddily arranged sanctuary while purring her name. She echoes the name of her Colony by arguing that she gave her children “dignity,” a term Schäfer repeatedly cited in defense of his monstrous acts. These crimes remain offscreen in “The Wolf House,” and are hinted at solely through the fantastical symbolism of the faerie tale spun for us by the wolf, as if coaxing Little Red Riding Hood to take up residence in his stomach. Our tale officially begins with Maria (Amalia Kassai), a young member of the Colony, breaking free from her captivity after being punished for letting three pigs escape.
Maria’s memory of the guilt she felt when luring animals into a hole in the ground, a task that results in her being rewarded by a satisfied tree, could very well represent the graves of Pinochet’s dissidents. The flowers that subsequently bloom from the soil later spring from the house’s walls—and even a stigmata—when Maria nurses her two adopted children to health, thanks to the healing power of the Colony’s magical honey (which also supposedly triggers the growth of blonde hair). Barely anything of plot-related consequence needs to be occurring onscreen in order for our fascination to be sustained by the sheer unpredictability of the visuals. At any second, Maria could devolve into the upholstery of her chair or be rendered a colorless shell as the painted texture of her soul drifts from her body onto a nearby surface. The film follows “La Jauría” star Antonia Giesen as she plays a version of herself, an actress and psychologist whose tortured patient (Francisco Visceral Rivera) is overwhelmed by the voices of a long-dead Nazi poet, Miguel Serrano. The charge scripts his encounters, and Antonia enlists creatives León & Cociña to help her bring the narrative to life, unaware that a plot to lure her further into its warped, abstract history lesson is afoot.
Ryan Gosling, Ken Kao, Bea Sequeira, Mel Turner and Whannell are EPs. Stay up to date with our essential dispatches for design professionals. Know of a home for sale or rent that should be featured on Dwell.com? Perched on a verdant 9,796-square-foot lot, the home is neighbored by a three-bedroom, two-bath guesthouse, which was built in 1970 and is also included in the sale.
A look at one of the home's bedrooms, which was designed in an irregular shape to confer a feeling of both expansive and intimate living. Upstairs, the living room is wrapped by two 16-foot-high walls of glass, which open to expansive views of greater Los Angeles. The outdoor terrace gently hugs a monumental Eucalyptus tree which traverses all floors and is protected by the home's stone facade. Blending intimacy and privacy with inspiring vistas, the Wolff Residence was designed on an almost vertical plot just above Sunset Plaza in 1961. The 1,664-square-foot home was commissioned by interior designer and concert pianist Marco Wolff.
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