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The designer has quietly paid $11 million for John Lautner’s iconic Wolff House in an off-market deal, real estate sources told The Times. The powerful thing about The Wolf House, though, is that you don’t need to interpret it this way. Sure, the context of Chile’s history seems to explain the movie well enough, but cinema doesn’t always need to be a neatly wrapped package. The Wolf House is vague on purpose, and you can take it as a metaphor for anything that fits for you. The traumatic effects of isolation are incredibly prescient as a theme right now, so there’s no issue in understanding this movie outside of the Colonia and Nazi Germany.
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The paint on the surface of a puppet that imbues it with life will melt off onto the floor, leaving the character drained and ghostly. These techniques create a sense of claustrophobia, but in a peculiar way; the walls are not closing in but rather perpetually remaking themselves, yet never with a way out. It’s often difficult to tell whether it is the camera that’s moving or the backgrounds, as a bathroom breaks apart tile by tile and reconstructs into a dining room. Although the characters are always in the process of becoming, never presented the same way twice, they are always sickly.
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Multicolored tents, protest art, and an enormous display of hand-painted canvas banners express CUNY student and faculty support for Palestine. The Louvre Museum is considering installing the artwork in a separate underground room to improve the painting’s “disappointing” viewing experience. Sign up for our free newsletters to get the latest art news, reviews, and opinions from Hyperallergic.
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As Chile descended into fascism under Augusto Pinochet’s rule in the 70s, things at the Colonia became darker and more violent. Rather than just being a cult in the woods, it was transformed into an internment camp for political dissidents. And, as Pincohet’s dictatorship proved, pretty much anyone could be labeled as a dissident and thrown into Colonia Dignidad’s underground prisons for torture. In other words, we don’t fault you if you feel a bit lost after watching The Wolf House. With the confusing nature of the movie in mind, let’s take a look at what you need to know to really understand the Chilean stop-motion film.
If the “Fire Walk with Me” comparisons make themselves, not even that David Lynch masterpiece was this deeply suffused with the abject degradation of child abuse. It’s built into the very fabric of the world that León and Cociña have painstakingly created together here, and their work is so dense with evil that the film itself is swallowed into the maw of its own artistry. This is powerful and uniquely disquieting cinema that should reward the curiosity of those brave enough to seek it out, but you can only stare into a bottomless abyss for so long before you lose the will to keep looking. But even if your eyes glaze over, there’s no denying the horrible truth of how Maria’s story continues to play out. “The Wolf House” reminds us that fairy tales are powerful because, once upon a time, we were all young enough to believe them. Could “The Wolf House” have been condensed into an Oscar-worthy short subject?
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The tax credits are a strategy from Ottawa designed to incentivize areas of EV manufacturing and production in areas that the Inflation Reduction Act has not. “Since the [IRA] was signed, Canadian officials have been hard at work figuring out what Canada’s response is” to the law, Joanna Kyriazis, director of public affairs and head of transportation at Clean Energy Canada, told us in an interview. Altogether, oil markets signaled that investors see the two sides as avoiding escalatory measures. To this point, the reality of the conflict has been less bad than the fears that drove up Brent well above $90 earlier this month. The final rule comes as part of the Biden administration’s broader crackdown on PFAS contaminants.
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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.
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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. 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. And even scarier is what the tale exposes about the setbacks and horrors of a totalitarian regime; something you’d wish felt considerably less relevant today. “We’re highly attentive to the international oil markets and domestic gas prices.
It is clear that although Maria is part of this house she does not have a home. The kaleidoscopic animated fable follows Maria, a girl who ran away from The Colony to avoid punishment for allowing three pigs to escape from their pen. She stumbles upon an abandoned house in the woods and uses it as a hiding place, both from her fellow community members and from a wolf that is now stalking her. As the wolf howls outside, Maria narrates her life for us, claiming to be able to transform her world into whatever she wants, but the dreadful, unsettling transformations happening to her and her surroundings don’t match her rosy descriptions. Soon she discovers two pigs inside that she adopts as her children, creating her own little commune in her mind.
The effect is that of a nightmare that Maria — and the viewer — cannot escape. The characters and many of the props are constructed out of papier-mâché, an unusual animation medium that proves fitting to depict the fragility and malleability of a dreamlike world. The action freely flows between 2D and 3D, the characters alternately depicted as paintings on walls, live figures in the space, or in some unsettling in-between state. The Wolf House looks like no other film, which makes its horrific imagery all the more difficult to shake from your head. While they are not overtly explained, these roots are briefly teased in “The Wolf House,” which is inspired by a real-life case from the Colony and cleverly masked as a propaganda picture, narrated by a Schäfer surrogate. And so we embark on Maria’s psychedelic misadventures when she flees the pressures of her clan and finds refuge in a remote home.
The Wolf House was to become the London’s home, Jack’s workshop, Charmian’s tower, and an oversized cabinet of curiosities filled with the London’s unique collection from their world travels. When he “eats” Maria’s pig-children (yuck), they are actually just turned into trees. This idea of non-literal consumption suggests that the wolf isn’t literal either, instead just acting as a symbol of something less physical that largely exists in the minds of Maria and her children. Due to the mass amount of misinformation and secrecy surrounding much of Pinochet’s rule, the full extent of Colonia Dignidad’s atrocities aren’t really known.
He offers to take the "little pigs" in the audience home to the Colony, where he promises he will care for them.
A disobedient woman, Maria, flees the community after letting three pigs escape, and takes refuge in an isolated house in the woods where she finds two pigs. Naming them Pedro and Ana, Maria imagines them as her children and they begin to grow anthropoid attributes until they are completely human. As they live an isolated, idyllic life, a wolf stalks them from outside, imploring Maria to come back... But soon Maria realizes the wolf may not be the only thing she has to worry about. The remote Chilean commune Colonia Dignidad was founded by German expats who came to the country in the wake of World War II (fill in the blanks there). Over the decades, this quasi-Utopian community evolved into a cult, and became a hotbed of crime and child sexual abuse.
'The Wolf House' Review: A Chilean Nazi Cult Inspires One of the Darkest Animated Movies Ever - IndieWire
'The Wolf House' Review: A Chilean Nazi Cult Inspires One of the Darkest Animated Movies Ever.
Posted: Fri, 15 May 2020 07:00:00 GMT [source]
It’s an elegant, downbeat, authentically lit, intensely acted, and clever look at 16th-century politics. You can stream it on the PBS Masterpiece app and via Hoopla library streaming. The state’s Democratic representative, Mary Peltola, also criticized both decisions. On X, she said that the rule on the petroleum reserve “steamrolled the voices of many Alaska Natives.” She also wrote that the Ambler Road denial conflicted with what local stakeholders wanted. At an event honoring the Alaska Republican for her work on behalf of patients with Amyotrophic Lateral Sclerosis, advocates from Climate Defiance had rushed the stage chanting and protesting the senator, according to a video posted by the group on Thursday. As attendees attempted to remove the protestors, the clash became violent, with several people being pushed off the stage.
This means that the answer to the question of whether The Wolf House is based on a true story is yes. Although the majority of the plot is fictional, the context of the Colonia Dignidad is very real. The history of this area of Chile being used first as a Nazi refuge and later as a torture camp hangs heavy over The Wolf House and serves as an important piece of the movie’s puzzle.
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