María Wehrle, an idle and irresponsible girl living in the isolated Colony, flees into the woods rather than face the community's punishment for failing to contribute. She narrowly escapes a pursuing Wolf by taking refuge in an abandoned house.
She is welcomed by two pigs, the only inhabitants of the place. Like in a dream, the universe of the house reacts to Maria's feelings and shapes itself into her ideal home. The pigs transform slowly into humans whom she names Ana and Pedro. Although the Wolf's presence outside makes it impossible for any of them to leave, the group lives happily for a short time. María ignores the Wolf's repeated attempts to tempt her back to the Colony and denies its description of the house as a new kind of cage.
Time passes. As the secluded household begins to run out of food, Ana and Pedro become increasingly hostile and secretive toward María. They hide food from her and share it between themselves. María, afraid to confront them, instead tries to leave the house and pick apples in the woods. Ana and Pedro stop her, claiming that there is enough food in the house and that leaving would only put her at risk of being caught by the Wolf. For the first time, María thinks longingly of the Colony and voices a more positive view of the Wolf. The Wolf, she thinks, knows the way home. She believes that the Wolf would take care of her.
Ana and Pedro tie María to a bed to prevent her from leaving. As they stand over her discussing their hunger, María realizes they intend to eat her. Despairing, María prays to the Wolf, begging it to save her. The Wolf enters the house and kills Ana and Pedro. María then transforms into a bird and flies home to the Colony.
In a brief closing narration, the Wolf says María regained her helpful and hardworking spirit once she returned home. He offers to take the "little pigs" in the audience home to the Colony, where he promises he will care for them.
It took five years to develop the film in the workshop with animators independently.[3] It incorporates both drawn and stop motion animation; the former for opening and ending scene, while the latter using various objects into different forms entirely such as clay, paint, papier-mâché, and puppets, similar to the previous short films created by León and Cociña. It also utilizes a single/shot sequence in order to appear like a one-shot film (except for the live-action metafictional opening scene).[7]
On review aggregation website Rotten Tomatoes, the film has an approval rating of 96% based on 51 reviews, with an average rating of 7.9/10. The critical consensus reads "Surreal, unsettling, and finally haunting, The Wolf House is a stunning outpouring of creativity whose striking visuals queasily complement its disturbing story."[10] On Metacritic the film has a weighted average score of 86 out of 100, based on 9 critics, indicating "universal acclaim".[11]
Glenn Kenny of The New York Times gave the film a positive review writing: "The film surprises, with incredible force, in every one of its 75 minutes.".[12] Jonathan Holland of The Hollywood Reporter praised the film for its visuals, writing: "the deeply uncanny pic makes for an unsettling viewing experience, a creative tour de force whose endlessly fascinating visuals are deliberately seductive and repellent in equal measure.".[13] David Ehrlich of IndieWire rated the film a B+, calling it "one of the darkest animated movies ever made.".[14]
