"In an interview found on the movie's Blu-ray release Nobuhiko explained his approach saying that: "Adults can only think about things they understand, so everything stays on that boring human level. But children come up with things that can't be explained. They like the strange and mysterious. The power of cinema isn't in the explainable, but in the strange and inexplicable.""
"The result is a film that abruptly and dramatically shifts tones from family melodrama with gauzy visuals, to slapstick music video, to proto J-horror. Circle wipes and obviously matte painted backgrounds brush up against severed heads and gallons of bright red blood. Underneath it all though is a narrative firmly rooted in folklore that confronts trauma by embracing morbid absurdity."
"Describing House is an exercise in futility. Here's the basic plot: A girl goes to spend the summer with her aunt after her widower father brings home a creepily sedate woman and declares that he intends to marry her. When she arrives at the countryside home, with six of her friends in tow, strange supernatural things immediately begin to happen. That's the gist of it, but it fails to even come close explaining the absolute insanity contained within its 88 minute run time."
House (1977) follows a girl who spends the summer at her aunt's countryside home, arriving with six friends and encountering immediate supernatural occurrences. The film fuses family melodrama, slapstick, music-video surrealism, and proto J-horror across an 88-minute runtime. Director Nobuhiko Obayashi applies frantic, hyper-stylized experimental visuals to create a distinct aesthetic. Much of the film's nightmare logic derives from co-writer Chigumi Obayashi, the director's ten-year-old daughter, whose childlike imagination supplies strange, inexplicable elements. The narrative anchors itself in folklore and addresses trauma by embracing morbid absurdity and grotesque, playful effects.
Read at The Verge
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