During our first witnessed encounter between the two anthropomorphic cats Rosa and Jen (Helena Bonham Carter), we learn Rosa’s plan was to use her tenants to fund this project and eventually move them out to enjoy the fully renovated home to herself. Our main character, Rosa ( Susan Wokoma), is the present owner with a lifelong dream of fixing up the house in order to make it her home. The third and final part in The House wraps up the cautionary tales by bringing us into a future where floods have swallowed everything but that same eerie building. While it’s too late for both the original family and now the developer, we can learn from their mistakes and clear our own mental fog caused by social and economic pressure.įrom the title alone, it’s relatively easy to conclude that another lesson will be taught – but this time, with an alternative ending that displays how our choices can prevent the haunting endings prior. Without human connection, what stops us from being reduced to nothing more than primitive desires? What purpose is left in life if we ignore our most basic needs as a means to an end that may never come? In the event this capitalistic goal is met at the expense of self, what would be left of us to enjoy it? Again, the film uses this grim ending to urge us to see how quickly misplaced priorities in life can lead to a painful end, and begs us to place value in what’s truly important.
Watch breaking dawn part 2 ending in house Bluetooth#
Scratching his ear and knocking off his Bluetooth device is the final farewell to his humanity as he joins the horrifying rat-insect hybrids in destroying all material possessions within the house and scurrying off into a tunnel beneath.Ĭlear warnings all point to the importance of self and connection. With his loan agent calling nonstop, no buyers, and seemingly no hope to achieve the things he’s placed higher in life than human connection: We find the developer returned to the house and regressed to his most primal state. The infestation of bugs, and now guests, increases along with the manifestation of his long-ignored mental health symptoms and his feeble attempts to force them out only land him in the hospital. He quickly learns they have no intention of buying (or leaving, for that matter). It’s likely that our main character ignored his reservations about the strange pair in the interest of selling, but even more likely that he has lost his ability to trust his own intuition through this pursuit of a luxurious future. This is given further weight as we witness his declining social skills, starting with making all the guests at his showing uncomfortable despite his best effort, and when it’s revealed that the “sweetheart” he’s been calling is his displeased dentist and not a lover.
The developer ( Jarvis Cocker) is never given a name, a testament to his isolation that has led to a complete loss of identity. Throughout the short we see him struggle with an infestation of bugs in the house that progressively gets worse, a strong metaphor for his rapidly declining mental state plagued by material-led desires left unfulfilled. It’s quickly revealed that he is buried in debt and worriedly cutting corners to ensure his project is completely finished at the lowest possible cost, with an added pressure of a recession as mentioned on the news. In the second part we find ourselves in the present with the focus on an anthropomorphic rat who is renovating the remains of the house from the first tale.
Although they manage to help their children escape in a last-ditch effort to preserve what’s important, their decisions and misplaced goals likely still result in a grim ending for the innocent pair, now stranded in the snow. Reduced to their own material desires, when the house catches fire, they’re left to burn with it. Mable and Isabel approach their parents only to find they have literally transformed into furniture: Their father a chair and their mother curtains. In the final scenes of this haunting tale, we see both parents entirely absorbed in the new lifestyle this house has provided them.
This recurring terminology is purposeful throughout the short, a subtle hint at the deeper meaning within the upcoming strange events. The only catch is they are prohibited from returning to their home, and must only occupy the house. The desperation that guides him leads his family to accept an offer from the nameless figure in the night, promising material possessions beyond their wildest dreams at (seemingly) no cost. A loving family in a home large enough to hold them all comfortably isn’t enough for Raymond, he craves the outside validation that comes with luxury and finds it in a deal too good to be true.
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