A woman tearing through the great distance between two distinctive worlds while doing all and anything to survive. A great story on the cruel ways of man. Story is predictable from the end of it's first quarter but it's the fateful twists and turns that's evermore interestingly keep the story alive. Great cinematography that brings the feminine theme very well. Visuals are excellent in portraying the intended emotions and setting the tone of each scene through visuals. Unique music that works well with the movie. There's a lot of good symbolisms such as how Serge name girls to understand where the origin of everything is. It's both funny and sad how perpetrator gets found and how Stephane's fate is decided. A great story that anyone would enjoy.

Sébastien Marnier's French thriller The Origin of Evil tells the tale of Stéphane, a woman on the verge of bankruptcy who tries to get in touch with her wealthy, estranged father and his new family. The film is a slow-burning thriller that keeps the audience on edge with its twists and turns, held together by a stellar ensemble cast. The plot is well-crafted, with a web of lies, secrets, and self-serving schemes that kept me guessing until the end. The theme and tone of the film are dark and twisted, with a touch of black humour that adds to the overall enjoyment of the movie.

The acting and characters are the strongest aspects of the film. Laure Calamy delivers a standout performance as Stéphane, a complex and flawed character who is both sympathetic and unsettling. Dominique Blanc is also wonderful in her role as Louise, Stéphane's evil stepmother, and Jacques Weber is convincing as Serge, the patriarch of the family. The supporting cast is equally impressive, with each actor bringing their own unique flair to their respective roles.

The direction by Marnier is solid, with extensive use of split-screen that conveys the duplicitous and conniving happenings of the story. The score is also noteworthy, with an unusual but effective use of a pipe organ that adds to the film's eerie atmosphere. The cinematography, production design, and use of colour are all well done, with a unique and unconventional approach that sets the film apart from other thrillers.

The film's pacing is slow at times, which did not appeal to me. The editing is also a bit uneven, with some scenes feeling disjointed or unnecessary. However, these minor flaws do not detract from the overall quality of the film.

The Origin of Evil is a deliciously twisted thriller that is sure to satisfy fans of the genre. The film's exceptional cast, solid direction, and unique style make it a standout entry in the thriller genre. While it may not be for everyone, those who appreciate a slow-burning, character-driven thriller will find much to enjoy here.

Greetings again from the darkness. Dysfunctional families are common fodder in films for the simple reason that most of us can relate ... or at least walk away being grateful that ours isn't THAT bad. I do trust (and hope) that your family bears little resemblance to the Dumontet clan at the center of this film from writer-director Sebastien Marnier and co-writer Fanny Burdino. This is a story filled with deceit and greed and conniving folks who make any of the reality TV housewives seem like Mother Teresa.

This is a tricky film to discuss while attempting to not spoil anything, so understand some of this is vague by design. Laure Calamy takes the lead as a line worker at an anchovy packaging plant. Her lesbian lover (Suzanne Clement) is incarcerated, and the money problems are piling up. She reaches out to the Dumontets to see if patriarch Serge (Jacques Weber) will accept his long-lost daughter, Stefane, back into the family. Jacques agrees, and soon she is on a boat to visit the ultra-rich Serge, who lives in a mansion on an island in the south of France.

As it turns out, Serge is the least of her worries. His wife Louise (Dominique Blanc) is an eccentric and colorful shopaholic or spendaholic who takes each day as a challenge to buy more items online and through TV shows. Daughter George (Doria Tillier) is a taskmaster who runs the family business and has no time for the newly-discovered sister. There is also George's teenage daughter (Celeste Brunnquell) who mostly broods and looks forward to the day she can escape. Lastly, we have Agnes (Veronique Ruggia), the longtime housekeeper who is also not in favor of adding one more plate to the dinner table.

Director Marnier presents us a cast of nutjob characters, each who carries a secret and is working part of a self-serving scheme. Back-stabbing seems to be a shared family trait, and at times (2 times precisely) it spirals into murder. An extensive use of split screen allows Marnier to convey the duplicitous and conniving happenings. The accompanying music often makes use of a pipe organ - a sound rarely heard in movies that aren't 1940's horror films. Yes, the film is heavy on camp, but it's also heavy on heavy, making the comedic moments even more effective.

Dominique Blanc is wonderful in her role, yet it's Laure Calamy whose performance truly stands out and makes the story work. The set decoration is unlike anything we've seen before (taxidermy and VHS tapes are front and center), and the film acts as yet another skewering of the rich (at least it's not rich Americans this time). Fans of Claude Chabrol will appreciate the homage, and most of us cringe at the unstable personalities in this dysfunctional family and its affiliates. It's unclear how best to label this - comedy, mystery, suspense - but regardless of the label, there is a bit of fun in watching the entitled get a taste of comeuppance.

Opens in select theaters and On Demand beginning September 22, 2023.