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The Origin of Evil

The Origin of Evil

Thriller · Drama · 2022

In a luxurious seaside villa, a modest young woman finds herself in the company of a strange family: an unknown and wealthy father, his extravagant wife, his daughter, an ambitious woman, a rebellious teenager, and their creepy maid.

Movie details

The Origin of Evil

“Someone is lying.”

2022 Thriller · Drama 2h 3m

Critical arithmetic

The consensus, allegedly.

IMDb

6.6 / 10

1.9K votes

Rotten Tomatoes

93 %

Tomatometer

TMDB

6.4 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

In a luxurious seaside villa, a modest young woman finds herself in the company of a strange family: an unknown and wealthy father, his extravagant wife, his daughter, an ambitious woman, a rebellious teenager, and their creepy maid.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Origin of Evil?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Sébastien Marnier

Written by

Fanny Burdino · Sébastien Marnier

Laure Calamy

Laure Calamy

Nathalie Cordier

Doria Tillier

Doria Tillier

George Dumontet

Dominique Blanc

Dominique Blanc

Louise Dumontet

Jacques Weber

Jacques Weber

Serge Dumontet

Suzanne Clément

Suzanne Clément

Inmate

Véronique Ruggia Saura

Véronique Ruggia Saura

Agnès

Céleste Brunnquell

Céleste Brunnquell

Jeanne Patterson

Court is in session

Put The Origin of Evil on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.