Chile’s at it again. Since’s Andrés Wood’s breakout “Machuca” in 2004, Chilean filmmakers, led by Pablo Larraín, Sebastián Lelio and now Maite Alberdi, have punched consistently above the country’s weight, consistently winning plaudits at Sundance, Berlin and Cannes. Chile has also won three Oscars – for Claudio Miranda’s cinematography on 2012’s “Life of Pi,” 2015’s animated short “Bear Story” and Lelio’s 2017’s fiction feature “A Fantastic Woman” – more any other South American country apart from Argentina.
First half 2023 has proved no exception in Chile’s statue trawl. Some of the awards on offer are among the biggest out: Alberdi’s “The Eternal Memory,” from Fabula, scooped Sundance’s World Cinema Grand Prize; Andrés Wood’s “News of a Kidnapping” walked off with best series at the Platino Awards, the Spanish-speaking world’s nearest kudos fest to the Oscars.
In all, according to a CinemaChile study released during Sanfic,...
First half 2023 has proved no exception in Chile’s statue trawl. Some of the awards on offer are among the biggest out: Alberdi’s “The Eternal Memory,” from Fabula, scooped Sundance’s World Cinema Grand Prize; Andrés Wood’s “News of a Kidnapping” walked off with best series at the Platino Awards, the Spanish-speaking world’s nearest kudos fest to the Oscars.
In all, according to a CinemaChile study released during Sanfic,...
- 8/24/2023
- by John Hopewell, Anna Marie de la Fuente and Holly Jones
- Variety Film + TV
In creating the titular object in “The House,” Paloma Baeza knew it had to be recognizable in each story while also being aesthetically different from the piece in the film’s other two vignettes. The challenge for the production designer was “to come up with some recognizable features that we could bend and stretch depending on what the story needed. Each narrative needed something slightly different,” she tells Gold Derby during our recent webchat (watch the exclusive video interview above). Production designer Alex Walker had meetings with each segment’s director individually and all together to discuss distinctive features that were selected for each segment’s version of the house. “You definitely feel, even though they look very different in terms of the aesthetics… through that entry hallway is absolutely the same house, even though they’re different scales.”
“The House,” which can be streamed on Netflix, is a stop-motion...
“The House,” which can be streamed on Netflix, is a stop-motion...
- 6/18/2022
- by Charles Bright
- Gold Derby
Yesterday, IndieWire took a peek at the blueprints of “The House,” the animated Netflix film from directors Emma De Swaef and Marc James Roels, Niki Lindroth von Bahr, and Paloma Baeza. Today, in the conclusion of a two-part series, the filmmakers and writer Enda Walsh talk about the shared setting of their stop-motion fables, and break down the three segments that make up “The House.”
On the Meaning of the Structure Itself
There’s a synergy between theme and location across “The House.” “The house places characters in a space where they feel completely lost, vulnerable, clueless, and frightened,” Walsh said. “Being in it keeps them in that anxious state. It’s a story that feeds on all the feelings of loss and ineptitude we all have at times.”
Roels and De Swaef agree. Their spooky period piece, about a family who sells their humble abode to a mysterious architect...
On the Meaning of the Structure Itself
There’s a synergy between theme and location across “The House.” “The house places characters in a space where they feel completely lost, vulnerable, clueless, and frightened,” Walsh said. “Being in it keeps them in that anxious state. It’s a story that feeds on all the feelings of loss and ineptitude we all have at times.”
Roels and De Swaef agree. Their spooky period piece, about a family who sells their humble abode to a mysterious architect...
- 6/14/2022
- by Carlos Aguilar
- Indiewire
Within the halls of an entrancing property, three otherworldly fables unfold, across different time periods and encompassing multiple sets of characters — not all of them human. Beyond the shared setting, an unnerving tone serves as the common denominator. Welcome to “The House.”
Produced by Nexus Studios and currently vying to be the first animated film ever nominated for Outstanding Television Movie at the Primetime Emmy Awards, “The House” brings together some of the finest artists working in stop-motion today. The separately realized but spiritually related segments by Emma De Swaef and Marc James Roels (“This Magnificent Cake”), Niki Lindroth von Bahr (“The Burden”), and Paloma Baeza (“Poles Apart”) amount to a grand work that’s as thematically intriguing as it is aesthetically imposing in its handcraft. In “And Heard Again Within a Lie is Spun,” De Swaef and Roels tell the tale of a family who move into a lavish mansion with seemingly ever-shifting interiors.
Produced by Nexus Studios and currently vying to be the first animated film ever nominated for Outstanding Television Movie at the Primetime Emmy Awards, “The House” brings together some of the finest artists working in stop-motion today. The separately realized but spiritually related segments by Emma De Swaef and Marc James Roels (“This Magnificent Cake”), Niki Lindroth von Bahr (“The Burden”), and Paloma Baeza (“Poles Apart”) amount to a grand work that’s as thematically intriguing as it is aesthetically imposing in its handcraft. In “And Heard Again Within a Lie is Spun,” De Swaef and Roels tell the tale of a family who move into a lavish mansion with seemingly ever-shifting interiors.
- 6/13/2022
- by Carlos Aguilar
- Indiewire
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