Netflix’s The House is an intriguing anthology series that expands the platform’s adult animation selection, bringing forward three stop motion short stories created by independent directors Emma de Swaef and Marc Roels, Niki Lindroth von Bahr, and Paloma Baeza.

Niki Lindroth von Bahr takes the lead on story two which explores the tribulations of a troubled mouse called The Developer. The character is preoccupied with selling a dingy basement apartment which he has fixed up with luxury products. Unfortunately, he doesn’t seem to tap into his target audience as the only interested buyers are an unconventional couple that takes advantage of the situation and demands an overnight experience in order to soak in the amenities. Despite the story’s unsettling tone from start to finish, Bahr’s big reveal at the end is certain to give viewers the “creepy-crawlies”. In an exclusive interview with Game Rant, the Swedish director broke down the inspiration behind her story and its surprising ending.

Game Rant: I’m intrigued by the main character of your story. What inspired you to create this character? And then specifically, what drew you to leaving him unnamed?

Niki Lindroth von Bahr: It was my intention to leave him without a name because I do feel that for this character, I would love for him to just be all of us. He’s supposed to be someone acting quite human. He’s trying to reach for success and wealth by buying this old worn-down house and renovating it into some sort of Kylie-Jenner-mansion and selling it at a much higher price.

I think it’s an interesting subject in general… Our most basic need to actually have somewhere to stay has become a status marker, like a percentage thing, and that our home is also supposed to mirror our soul in so many ways. When I walk the sidewalks here in Stockholm, there are trash bags everywhere. People just like tearing out their functional kitchens because they want a kitchen that’s much more them, and it’s this obsession with real estate that I think is fascinating.

The Developer is unnamed because he’s just this person that happens to find himself in this very sort of uncontrollable stressful situation and I would like for all of us to kind of relate to him. He’s doing his best and is struggling, as we all do. I think it’s also been interesting to compare him to the actual insects that are like pests in his house. He’s in the house for the same reason as they are, although he’s dressed up in a human outfit but then also towards the end of this story, he starts embracing his animal self and that turns out to be his salvation. Just letting go of all of his human accessories.

GR: While we’re on the topic of the ending, I was blown by how the stop motion set was destructed. Can you talk to me about the behind-the-scenes of that?

Bahr: That was so much fun. I was really sad because I was in place for most of the shoot but then due to COVID, I couldn’t be in place for the final shots. It was something that was liberating for the team, the artistic team there, and also for me. At first, we built these horrible MTV-Cribs-style rooms and this furniture that was just so horrible. Then towards the end, we were able to tear it down to expose all the trash and the dirt in us and just have everyone eating on the walls and on the couches.

GR: That is awesome. Speaking of this personal transformation, what are you hoping that the audience takes away from this story?

Bahr: I don’t find it that important to think so much about these things. It’s quite fun to just see what the reactions are. And what the audiences take with them. I have my ideas about this story. It’s a critique of our society in different ways. And it’s also about losing yourself in both inner and outer madness.

It’s so exciting to look forward to people’s reactions, they don’t necessarily need to be good. It’s just nice to be able to make people feel something. I tried to picture our general struggles in life, like class climbing. What’s the point, you know?

The House is currently streaming on Netflix.

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