With no purchasers, his loan agency ringing incessantly, and it appearing he has no chance of achieving the goals he has set for himself higher than human connection: The developer had returned to the house and had gone back to his most primitive self. His long-ignored mental health concerns are becoming more pronounced as the insect and visitor infestation grows, and his pathetic attempts to drive them out only get him admitted to the hospital. He finds out right away that they do not intend to purchase (or leaving, for that matter). It’s conceivable that our main character disregarded his concerns about the odd couple in order to make a sale, but it’s even more likely that his pursuit of an opulent future has made him lose the capacity to trust his own judgement. This is reinforced by his deteriorating social skills, which include making everyone at his performance feel uncomfortable despite his best efforts, and by the revelation that the “sweetheart” he’s been contacting is actually his irritated dentist and not a girlfriend. The fact that the developer (Jarvis Cocker) is never given a name is evidence of his loneliness, which has resulted in a total loss of identity. He battles an insect infestation in the house that worsens over the course of the short, which serves as a powerful metaphor for his gradually deteriorating mental health caused by material-driven wants that go unsatisfied.
What would be left if everything you’ve invested so much worth in burned down? What will remain when you make decisions for the people you love? It is a lonely pursuit to pursue wealth and social prestige driven by insecurity and a strong need for external approval. In a desperate attempt to protect what matters, they manage to assist their children in escaping, but their poor choices and misguided intentions almost certainly lead to a sad outcome for the defenceless couple who are now left in the snow.Īlthough there are numerous close-to-supernatural occurrences throughout the short, the overall theme is always extremely human: Without love, a house is just a house. Reduced to their own selfish material goals, they are allowed to burn along with the house when it catches fire. When Mable and Isabel get close to their parents, they discover that they have turned into actual pieces of furniture: their mother into drapes and their father into a chair. In the story’s concluding scenes, both parents can be seen wholly engrossed in the new way of life this house has given them. This repeating language serves a purpose throughout the short and hints subtly at the larger significance of the forthcoming unusual happenings.
The only catch is that they are not allowed to go back to their residence instead, they are only allowed to stay there. His family accepts the offer from the enigmatic man in the night because of the desperation that drives him, who promises them material possessions beyond their wildest dreams at (apparently) no cost.
He needs the external validation that comes with luxury and discovers it in a deal that seems too good to be true.
Their downfall ultimately results from this insecurity and underlying desire to succeed monetarily since it makes him vulnerable to the exploitation that invariably follows.įor Raymond, having a loving family and a home big enough to accommodate them all comfortably isn’t enough. In contrast, her father Raymond (Matthew Goode) appears to be quite unhappy with this home and his personal development as a result of several harsh comparisons to his late drunken father made by their guests. She believes her house to be more than suitable because her beloved family resides there. Mabel (Mia Goth), their eldest child, navigates their presence with a sense of naïve uncertainty. The basic pleasures of our main characters’ household, such as the gender of their newest kid and the hand-sewn goods made by mother and wife, Penny, are all met with grimaces and turned up noses (Claudie Blakley). We are transported back in time and find a four-person family getting ready for the arrival of their affluent and, to be honest, unwelcoming relatives.
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