Stephane Marson is not exactly Serge Dumontet’s long-lost daughter, since he never bothered to look for her. However, once she suddenly presents herself, he realizes she might just be her father’s daughter (illegitimate or not). Naturally, she wants to keep her prison-inmate girlfriend a secret from her new “family.” However, the new Dumontet daughter might have even darker secrets, but maybe that is why old Serge takes a perverse liking to her.
Of course, it does not hurt that she annoys Serge’s proper daughter, George Dumontet (both daughters have men’s names, because that was a Serge thing). George is one last appeal away from wresting control of the family empire away from the old man. In the courtroom, his shopaholic wife Louise sides with George, but she largely maintains neutrality within their seaside villa, despite her tart tongue. She is even somewhat receptive to Serge’s surprise daughter. Obviously, with serious money at stake, things are going to get ugly.
Origin will remind some viewers of vintage 1960s and 1970s Claude Chabrol—and not just because its French. This is a deliberately paced thriller that takes its time introducing its characters and their circumstances. It isn’t until about halfway through that Marnier and co-screenwriter Fanny Burdino unveil their first big twist, which definitely changes everything.
In fact, Origin is a deliciously clever, in ways that earn comparison to films that would be spoilery to mention. One thing is safe to say: the Dumontet family sure is something.
Origin of Evil shows France can still whip up a good thriller. It is a slow-burner, but the burn really blisters. Highly recommended for fans of very adult noirs, The Origin of Evil opens Friday (9/22) in New York at the IFC Center.
