Like its predecessor Few of Us, Lithuanian cult film director Sarunas Bartas's The House is highly abstract and nearly silent but for a pair of narrators. Whereas the first film was primarily centered on life in a remote mountain village in Lithuania and had loose plot, this one pays tribute to a huge, and aging lakeside manor and is plotless. The narrators speak to an unseen mother and the house may or may not be the fantasy or dream of one of its many diverse residents. For much of the film's two-hour running time, these inhabitants, who reflect people of varying races, shapes, sizes, degrees of attractiveness and ages, are seen aimlessly wandering about looking sad and exhausted. Sometimes, some of the prettier female residents will doff their clothing. Meal times are particularly morose as no one speaks or pays each other any mind at all. It is only toward the end of the film that anything substantial occurs. It happens during a masked ball and is a commentary on the Soviet takeover of Lithuania and a heartfelt prayer for the preservation of Lithuanian local cultures. While there is not much of interest in the story, the beautiful cinematography, which utilized a palette of pale colors and natural lighting and employed largely stationary imagery punctuated by the occasional slow tracking shot, helps maintain viewer interest. - Sandra Brennan, All Movie Guide
Это мой дом. Я не могу сказать, где он находится, в какой части света. Я просто знаю, что этот дом - мой. В нем жило множество людей. Некоторые из них всего лишь заходили и вскоре покидали его, другие оставались дольше. Немногие из них живут в нем до сих пор.
|The House (World-wide)|
|Greta Sapkaite |
13 Mar 2020
Saying this movie is slow is just....wow. It is an understatement of such proportions it would almost be false advertising in most countries. I believe there are records of wood becoming petrified at a faster rate than this plot moves. Do not watch this film.
28 Nov 2011
This movie is a very slow film with long drawn out scenes. Very dissappointing.