A wealthy patriarch in a lavish seaside villa. A gaudy wife. His suspicious daughter and her angsty teenage daughter. An intimidating maid. It all may be too much to bear for modest Stéphane (Laure Calamy of Call My Agent). But maybe not. After decades of separation, she’s tracked down her long-lost and aging father and desperately wants in. He’s built a family, after all. An incredibly dysfunctional one at that, but a family nonetheless. It’s something Stéphane has longed for her entire life. Why not have a go of it? And so it goes in director Sébastien Marnier’s thrilling dark French comedy, The Origin of Evil.

Don’t be fooled by the title, which suggests a supernatural demon emerging out of the ethers in some creepy horror movie. This is not that kind of film. Although it is, if you look at the movie metaphorically. The “evil” in question perhaps is the incessant, unruly, aching shadow self in all of us, whose unfulfilled desires cannot be tempered and will no longer be suppressed. Unaddressed, it can wreak havoc. It sure does in this twisted thrill ride, which recalls the dark wit of Pedro Almodóvar movies and the clever mystery set-ups of Agatha Christie. Let the fun begin.

Daddy, Won't You Love Me?

Sébastien Marnier’s previous works include Faultless and School’s Out. The Origin of Evil flourishes even beyond those prior films, though, thanks to a storyline that packs in as many family quarrels, rolled eyes, and deep dives into class, power, and wealth as it can. The director, who also co-wrote the film with Fanny Burdino, reportedly based the story on people he’s known. To that end, one can only imagine what a dinner party with this fine director might be like.

Let’s dive in: Stéphane is a woman on the verge of a breakdown. She lives a simple life and works in a fish factory. Meanwhile, her aggressive lover (nicely played by Suzanne Clement) is gritting her teeth during a five-year prison sentence and sees nary a sign of levity. One day, Stéphane decides to reach out to her absent father, Serge (Jacques Weber) — think Succession’s Logan Roy with French flair. Her strong desire to connect with the man and his family suggests a yearning to be part of something, but there may be more to it than that. Is she after his money? Serge’s health is in decline, after all, and his family and maid hover around eagerly awaiting the inevitable.

It takes a while for the film to establish all the players and what’s at stake. Once Stéphane walks into Serge’s palatial island haven, she’s stunned by the opulence. She can’t fret about her low self-esteem too much because suddenly, there are people ready to pounce. The maid is put out and doesn’t warm up to Stéphane. Louise (a delicious Dominique Blanc), Serge’s wife, wears designer clothes like nobody’s business, but even this flighty matriarch is smart enough to know not to let down her guard. Serge’s daughter, George (Doria Tillier), has had enough with her dysfunctional family but still finds herself hanging on.

The family scenes are fizzy and fun. Marnier’s cast is brilliant and watching these characters interact is a rare treat. The filmmaker strikes a nice balance between the intricate storyline and the dark humor that emerges from it.

The Plot Thickens

As the story unfolds, Stéphane quickly realizes that her presence at the villa disturbs Serge’s family. She goes along with it for a while, but she's briskly pulled into a disturbing world filled with family secrets and bitter betrayals. Seems there's a battle over her estranged father's massive estate and Serge himself isn't so noble and lovely, after all. But that ache for... daddy? Money? What to do?

Soon enough, Serge and Stéphane determine they can be allies for each other. Stéphane, broke and struggling, surely could find solace at the villa. But it comes with a cost. Serge’s family wants to declare him incompetent. Stéphane may be the best emotional bodyguard for that, thereby saving Serge. Seems like a win-win.

The ripple effects of that decision effect everybody involved, and the story becomes ever so much more twisty and savage. None of it would have held quite the pop were it not for the estate Marnier used to shoot the movie. Think of it as another character, one that become a vibrant force toward the film’s final moments. Marnier reportedly rewrote the screenplay based on this villa, a stunning 4,500 square foot dazzler with a lavish pink marble staircase.

Secrets and resentments rise to the surface as the story moves along. There’s some sweetness, too, as we get glimpses that Serge’s family may come around for Stéphane, but alas, it’s anybody’s guess, and that’s what makes this outing so enjoyable. There’s also a nice call back to Stéphane’s lover back in prison, who’s going through her own turmoil and who is capable of wreaking havoc wherever she goes.

In addition to the stellar cast — Laure Calamy shines bright — and sparkling script, Sébastien Marnier incorporates other creative techniques. He uses split-screen in several instances while the characters converse, no doubt culling from classic mysteries we’ve seen in older movies. Overall, it makes those scenes more dynamic and interesting.

It’s also fitting to note that the film’s runtime may seem to work against it, but in the hands of an American director, we’d have only gotten about 90 minutes to spend with these vibrant characters. So, sit back and enjoy. The film also boasts some sexual pep. All good. Surprising, but good, in fact. That current of misty eroticism spices up the already exceptional plot. It adds another winning layer to a tale where preconceived ideas get blown away during unsuspecting moments. Nothing is what it appears to be in The Origin of Evil and the last 10 minutes of the film is a triumph.

The Origin of Evil, in French with English subtitles, opens in select theaters and On Demand September 22.