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But, despite Maria’s goals, the house is quite similar to the Colonia Dignidad. But, in the end, the wolf is revealed to not be exactly what he seems. 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. The first era of Colonia Dignidad began when Paul Schäfer, a German man accused of child molestation, moved to Chile in 1961 with the goal of abandoning his past and creating a perfect commune focused on agriculture, spirituality, and purity.
California’s National Parks and National Monuments
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.
How to Experience Yosemite National Park’s Firefall
Wolf Home Products expanding into Colorado - LBM Journal
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Posted: Wed, 31 Jan 2024 08:00:00 GMT [source]
The fairytale of a movie, the first feature-length for León and Cociña, tells the story of Maria, a young woman who has recently escaped from Colonia Dignidad. She seeks shelter in a house with two farm animals, but soon enough her nightmares reemerge — this time in a more supernatural way. The story here, such as it is, is less of a linear fairy tale with a tidy morale at the end than an oozing transference of concern from Maria to her kids.
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Under the Pinochet dictatorship ( ), it was converted into a detention center where dissidents were tortured and killed. This grim history forms the backdrop for Cristóbal León and Joaquín Cociña’s animated film The Wolf House, which utilizes stop-motion to conjure a level of surreal grotesqueness that would make Jan Švankmajer blush. That’s because the breathtaking yet abstract artistry of “The Wolf House” feels so strikingly unique.
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.
“I will teach you everything I know.” Even at this early juncture those words land on your ears like the gravest of threats, and their echoes only grow louder as the characters dematerialize and reassemble. The shifting interior of the building takes shape before our eyes, only to mutate every time we look at it. A physical wooden door opens into a blank room where two-dimensional furniture is being drawn on the walls as Maria watches it take shape. A window pane seems to resemble a swastika for a moment before it turns into a square, but that must be your mind playing tricks on you. Cociña and León brilliantly portray the ever-evolving nature of dreams, continuously switching up the look of their world and the perspective from which we view it, thereby magnifying the falsity of the truth it preaches.
The walls, perpendicular to the slope, stand like a rock over the mountain, adapting to the environment. They are built in zigzag and resistant not only to landslides, earthquakes also common in the area. The trees continue to grow on both sides of the bedrooms and terraces of the living room, in some cases between the glass and the structure as above the deck. London hired San Francisco architect Albert L. Farr to design the home. Farr was a leading exponent of Arts and Crafts architecture in California.
Super Dark Times Explained – Making Some Kind of Sense of the Movie
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.
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.
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.
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.
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