The family is quickly seduced by the extravagant amenities—the food that appears on massive dining room table, the electricity that provides full illumination. But young daughter Mabel (Mia Goth) has more trepidation, as she starts to witness the stranger aspects of its construction, like the zombified workers, who toil in the darkness, and suddenly take away the staircase at night. Things get even stranger, and more visually striking, when the parents are gifted clothes that look a lot like pieces to an ornate couch. It’s an effectively spooky short, one that gets a great deal of intrigue out what is unfolding in the shadows, prefacing the house as a nonsensical trap.
“The House” doesn’t continue this more horror vibe in the rest of the story, but rather plays upon nightmares of discomfort. In the second short, by Niki Lindroth von Bahr, a rat developer (Jarvis Cocker) is trying to prepare the home for showing, fixing it up room by room. In spite of his upbeat attitude and his best intentions, he’s shown to be a pushover, who runs into massive problems along the way, like an infestation of fur beetles that parallels the hopelessness of his pursuit. Even the food that he orders for the showing leads to the wrong order, making him improvise with hot dogs and ramen. Things get especially weird when two intimidating characters express interest, in seeing the room and then staying over night. They placate him with the repeated words that become freaky each time they’re growled: “We are extremely interested in the house.” This short also nonetheless makes space for a grandiose and creepy-crawly musical number.