Stopmotion is a 2023 British live-action/adult animated psychological horror-thriller film directed by Robert Morgan in his feature-length debut, from a screenplay he wrote with Robin King.

At a party in the apartment building, Ella asks Tom's sister, Polly, to give her some LSD in the hopes it will inspire new ideas.

Tom finds her passed out in her apartment, and tells her she has animated the Ash Man approaching the girl's door and must have hallucinated it.

After experiencing another hallucination of the Ash Man pursuing her in her apartment, Ella awakens in the hospital with an injured leg.

She is discovered by Tom and Polly, who attempt to restrain her and take her back to the hospital, but she attacks and kills them both and uses their flesh to create life-sized figures of the little girl and the Ash Man.

The website's consensus reads: "Stopmotion takes the conflict between art and artist to chilling, visually thrilling extremes, distinguished by director Robert Morgan's excellent effects work.

"[10] Metacritic, which uses a weighted average, assigned the film a score of 65 out of 100, based on 11 critics, indicating "generally favorable" reviews.

Morgan's knockout debut opens up the veins of a turbulent artist, delivering one creepy melding of mediums to an unsettling, powerful degree.

"[12] Variety's Dennis Harvey wrote, "Robert Morgan unquestionably has a knack for the extraordinary; it is both a measure of his talent and of its limits that this debut feature stumbles only when it tries to do something on the ordinary side.

"[13] The New York Times's Jeannette Catsoulis said, "Like the art form it celebrates, Stopmotion is careful, patient and almost punishingly focused, with Franciosi bringing the same intensity that made her role in The Nightingale (2018) so devastating.

"[14] In a more negative review, Peter Sobczynski of RogerEbert.com wrote, "Although it clearly wants to be seen as some kind of wild hallucinatory exploration into the heart of madness, Stopmotion eventually reveals itself to be little more than a collection of barf-bag visuals and tired conventions that are occasionally enlivened by some nifty animation and the strong performance from Franciosi.

"[15] Steven Scaife of Slant Magazine wrote, "beyond the methodical scenes of Ella at work, the live-action sequences that dominate the film add little to the lengthy history of horror stories about someone slowly unraveling in isolation...