When Stéphane (Laure Calamy of Call My Agent!, Full Time) gets in touch with wealthy Serge (Jacques Weber), announcing that she is his long-abandoned daughter, his immediate family are none too thrilled. As Stéphane embarks on an extended visit in hopes of getting to know Serge, she also becomes entangled with the hostile women who share a tense existence in his beautifully appointed mansion by the sea: the restaurateur's wife (Dominique Blanc), his other daughter (Doria Tillier), a rebellious granddaughter (Céleste Brunnquell), and a strangely off-putting housemaid, all of whom are clearly unsettled by the arrival of Serge's newly announced heir. But Stéphane is a confident liar with secrets of her own, which writer-director Sébastien Marnier teases out with cool assurance in this wildly entertaining thriller that will keep you guessing all the way to the end.
However, with great power comes great responsibility, which documentarian Zoe McIntosh shows in Stylebender. Returning to Tribeca after the 2017 premiere of her acclaimed short, The World in Your Window, McIntosh traces Adesanya’s UFC career starting with his 2019 middleweight title win. In the process, she unwraps a fascinating portrait of the modern athlete, charismatic and complex in equal measure. UFC fanatics and those who have never seen a match will find Adesanya’s journey toward greatness captivating, engrossing, and illustrative of the larger-than-life personality you need to succeed in athletics.––Jose Rodriguez
Family fortunes and squabbling relatives form a sturdy foundation for a twisty, sometimes florid thriller in The Origin Of Evil. The third feature from Sebastien Marnier, feels like an homage to Patricia Highsmith’s Ripley, featuring a slippery central character adept at deception and reinvention.
[Director] Marnier channels the spirit of Claude Chabrol’s withering knock-downs of the bourgeoisie, layered with the plot curves of a Hitchcockian riddle.
Propelled by revelations, twists and a seasoning of sly humour.. It quickly becomes apparent that nothing is quite as it seems in this jaunty romp.
[Sebastien] Marnier’s film manages to be cruelly funny, while evoking the spirit of that master of the French thriller Claude Chabrol, with hints of Patricia Highsmith and Ruth Rendell. It offered a touch of class as a first-day festival highlight [Venice Film Fest].
-The Observer | Venice Film Festival-