Family Murder Game Review

Lessons from the Darkness

With Perfect and exit time, Sébastien Marnier had already demonstrated a certain plastic lightness and particular attention to the elegance of his frame, the richness of his colors and the creativity of his machines. This love of form is found even more clearly in The Origin of Evilwith large split screen shots, zooms, ratio games and bubble shots.

The filmmaker also uses anamorphic lenses to distort the image and show the monstrosity of the characters or the frightening nature of the surroundings. These cinematographic tools are never gimmicks, but constant vectors of sensation and meaning. Like his first two films The Origin of Evil lets Sébastien Marnier enjoy the formal possibilities of cinema without ever succumbing to visual boasting or false tour de force.

Great movie fun

The whole thing contributes in particular to the creation of a particularly exciting poisonous atmosphere embodied by a handful of powerful images like that of the white-hot Laure Calamy, who escapes from a foggy corridor, or that of the group of women, who are enthroned on their imposing sofa. Sébastien Marnier uses a keen sense of frame to make his characters iconic and offer the viewer powerful and impactful images.

An art of staging that begins what begins as a social drama, gradually interspersed with psychological thriller themes while interspersed with moments of pure grotesque comedy. The Origin of Evil mixes genres with infectious funwhile doubling down on those codes with a decor and texture that appeals to the macabre history.

The origin of evil: photofamily defeat

Between heaven and hell

These different registers connect and contaminate each other, Sébastien Marnier have fun to pervert the genres and styles he stages. Indeed if exit time was a toxic exploration of teen film, The Origin of Evil takes the codes of drama and/or family comedy and amplifies them with a dark and ambiguous tone that’s thoroughly enjoyable.

Between dinner scene and morning walk, the filmmaker infests the family film with darkness and turns it into a spectacular game of massacre where blood ties are just a source of hypocrisy, betrayal and manipulation. The Origin of Evil upsets a certain family ideal, as well as revealing an unprecedented facet of almost every one of her performers.

Sunny Laure Calamy perhaps signs her role in cinema’s darkest, the elegant Dominique Blanc has never been so extravagant and Suzanne Clément reveals a game of astounding brutality that has been little used. Sebastian Marnier perverts the image of its actressesthat allow viewers to rediscover them, more extraordinary than ever.

The Origin of Evil: Photo, Céleste Brunnquell, Dominique Blanc, Doria TillierA stunning cast

The same goes for the huge mansion that houses this strange family. Grand and bright on the outside, the house is stuffy and cluttered on the inside. These huge spaces are full of extravagant objects, those crushing lines and that overhanging marble thus serve as an organic and sensory catalyst to the fear-inducing relationships that unite the characters.

Protagonists like those of Marina Foïs in Perfect and that of Laurent Lafitte in exit timeare constantly evolving and turn out to be lovable, disturbing and despicable by turns. The Origin of Evil plays with the empathy of the viewer and repeatedly turns his expectations and prejudices upside down. The result is a great joy in writing, emotionally stimulating as well as disturbing.

The Origin of Evil: Photo, Laure Calamy

The Devil’s House

No country for old men

With Sébastien Marnier, the protagonists are often the most ambiguous, eccentric characters. However, almost every one of them seems to have a common challenge to find your way in a group, be it family, couple or friendship to survive or just to be loved. A motive that in no way excuses her actions throughout the story, but rather makes her journey all the more tangible and sensitive.

The character of Laure Calamy is a particularly strong example of this, as behind her character’s ambivalence and complexity, the obviousness and simplicity of their motives touches them immediately, if not tragic. In Sébastien Marnier’s cinema there is no Manichaeism, not even morality.

This is proven by these characters, for whom the end always justifies the means, but so do they Treatment without clumsy didactics of dense and complex subjects like patriarchy, sisterhood and class struggle. By using a collection of political themes around these various issues without posting ready-made answers, The Origin of Evil thinks the contemporary with vigor and relevance, without ever teaching a lesson or appearing overbearing.

The Origin of Evil: Photo, Jacques Weber, Laure CalamyThe origin of the male

Incidentally, therein lies the whole finesse and intelligence of the film: when The Origin of Evil talks about the end of patriarchy by showing a destructive and manipulative man being dethroned by a dominating and predatory sisterhood. Speaking of a class defector, he takes the stand of a proletarian heroine being crushed by a bourgeois family while his own innocence hides a grave secret.

Sebastian Marnier does not claim a submoral vision of society. He enjoys constantly rehashing and redistributing the political charge of his film by reminding us of the origins of evil, but always problematizing its consequences. This third film turns into a simple and entertaining story that nonetheless leads to a rich and complex meditation on our society and humanity in general.

The Origin of Evil: Official Poster

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