Our Father, the Devil (2021) Thriller Movie Review

In Ellie Foumbi's debut feature, Marie, psychologically scarred and emotionally bruised, works as a chef in an understaffed assisted living home. Her mentor, Jeanne, an aged former head of a culinary school, appreciates Marie's cooking, bringing occasional smiles to Marie's face. Jeanne's generous gift of a cozy cottage in the woods provides Marie with a much-needed respite from her demanding job.

Foumbi and cinematographer Tinx Chan skillfully balance probing and withholding through visual storytelling. An example is the eerie introduction of Father Patrick, captured from the neck down as he leads the elderly in prayer. Marie recognizes him not by sight, but by his voice, creating a distant memory effect. When she finally sees him, he is ominously backlit, revealing only the black outline of his body.

Father Patrick's presence triggers fear in Marie, leading to her fainting upon seeing him. The mystery deepens as Marie questions whether he is the abusive guerilla soldier Sogo from Guinea. The revelation of Father Patrick's unique tick becomes the turning point, prompting Marie to knock him out and take him to Jeanne's cottage.

Fortunately, Foumbi doesn't drag out the mystery of Father Patrick's identity in "Our Father, the Devil." By the movie's midpoint, we get the answer. But the real focus isn't on who or what he represents—a metaphor for Satan or a reflection of Marie. Instead, it's about the impact he has on Marie, a West African Black woman feeling out of place in a mostly white country. For two decades, Marie has avoided romantic relationships and suppressed self-pity or empathy. You grasp her loneliness through clever use of space; the film often shows Marie alone in large rooms, positioned at the outer edge of the frame, with her reflection in windows intentionally blurred.

In "Our Father, the Devil," forgiveness is a central theme. Foumbi's intricate script explores whether some actions are beyond redemption. It's evident that Marie not only dislikes Father Patrick but also harbors resentment towards the religion he finds solace in, as well as herself. Babetida Sadjo skillfully portrays Marie's internal struggles and external barriers, aided by the director's adept use of lighting and a haunting score. Sadjo's expressive face conveys shock, regret, and pain, while her rigid physicality adds a layer of intensity to both her character and the scenes she's in.

The film's final shot, depicting Father Patrick and Marie, encapsulates the script's conflicting emotions, trusting the audience to grapple with the story's delicate balance. While a few scenes could benefit from some tightening, this minor issue doesn't overshadow the overall clever construction of Foumbi's "Our Father, The Devil." The film manages to breathe new life into well-worn themes like trauma and grief, infusing them with a rich depth of meaning.