The characters in The House Part III are depicted as cats, the natural predators of the rats in the past part. Rosa is trying to renovate the house into an apartment building, but struggles with her languid tenants. In an ordinary situation, the crowd’s sympathies might be with Rosa. Nonetheless, in an overflowed, apocalyptic world, Rosa’s longing to continue as ordinary and bring in cash is stupid, and her tenants’ craving to unwind and subsist on the land is eminently sensible.
The House’s ending suggests that industrialism will ultimately create its own defeat. Even with climate change, continuing on trading commodities is insanity. This is a similar point made in apocalyptic films like George Romero’s Dawn of the Dead. Netflix’s The House doesn’t give a reasonable solution to the issues created by capitalism and industrialism. Instead, The House’s true significance is that, similar to Rosa and her tenants, humanity must abandon the sinking house of commercialization and sail into the unexplored world.
The last part of The House is set in an overwhelmed region where the eponymous house is the main thing above water. The floodwater doesn’t appear to be disappearing, so this is probably going to be a future where climate change, a famous topic of films like Don’t Look Up, has caused a dramatic ascent in the ocean level. This additionally fits into The House’s critique of capitalism and industrialism, which are often blamed for being answerable for the dramatic ascent in greenhouse gases.
The House has various dreamlike moments, for example, a dance routine performed by termite-like “hide beetles,” and its disconnected stories might appear hard to interpret at first look. Notwithstanding, each of the three stories center around the selling and consumption of property in progressively ridiculous circumstances. These plots consider a great arrangement of trenchant commentary about present day commercialization and capitalism, which is The House’s true significance.
