Mike Cahill’s “I Origins” (2014) (presented by 10 Years Ago: Films in Retrospective)

Poster for "I Origins"

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

“If I drop this phone a thousand times, a million times…and one time, it doesn’t fall. Just once…it hovers in the air. That is an error that’s worth looking at.”
-“You’re so fucking stubborn.”

I’ll be honest; I’m not sure my eye has evolved enough in ten years to give me anything new to see in I Origins. You can consult my 2014 review or our spoiler-filled podcast discussion, as I did after rewatching the film this weekend, found that my opinion about the film itself has not substantially changed.

“I worry that some people will come away from I Origins believing that it has abandoned its post in the apocalyptic battle between science and religion – that after spending easily half the film with atheistic scientist Dr. Ian Gray (Michael Pitt) fastidiously attempting to model each of the evolutionary steps in the development of the human eye, the film veers off into more conventional territory. That by delving into the supernatural, the film strips away its ambitions and becomes yet another Hollywood-kumbaya tale of how we should probably all just get along and believe what we want. But based on the evidence presented in the film, this couldn’t be further from the truth.”

By and large, I still felt this way when the film was over. The battle rages on, but this film takes a nuanced position on it. The first act of I Origins is a whirlwind romance between Ian and Sofi (Àstrid Bergès-Frisbey), a vaguely defined spiritualist and model, which begins with an impromptu and nearly silent party hookup, continues with an oddly mystical Cinderella search in which Ian follows a string of coincidences and numbers (and eventually Sofi’s eyes on a billboard makeup ad) to the woman herself. Their relationship remains firmly in the honeymoon phase, presented in montage form, before reaching an abrupt end as Sofi gets suddenly and brutally bisected in an accident involving a malfunctioning metal box in her apartment building. This follows a fight in which the pair seems on the verge of breaking up, and Ian doesn’t come off particularly likable, and in a way, that’s what made the scene so effective? Freak accidents aren’t tidy or narratively satisfying – a terrible thing happens so fast you barely realize it, and then you realize it, and then you scream. Despite a heartfelt performance from Bergès-Frisbey and impressive, if perfunctory, chemistry with Pitt as her ontologically mismatched boyfriend, Sofi fits a dismissive mold that I still use all the time: “more concept than character”. I was critical of Sofi’s short shrift and fridging when I saw the film originally, but as Cahill’s next film Bliss would illustrate 7 years later, this is a filmmaker whose slightly muddy sci-fi ideas often land better with me than his storytelling and characterization.

Still from "I Origins"

In I Origins, these ideas are initially voiced by smug atheist Ian, who literally pauses his search for Sofi to read Richard Dawkins at a bar (as if trying to give her a head start on not fucking him again). In his molecular biology lab, Ian seeks to understand the evolution of the human eye in order to provide a scientific rebuttal to the creationist notion of irreducible complexity, which posits that certain biological systems (like the eye) are so complicated that they simply couldn’t have evolved on their own without the guiding hand of God to make them do so. “Why are you working so hard to disprove God?” asks Sofi, and Ian clarifies that he has no interest in God – he’s just trying to fill in a gap in human understanding. Like every component of “intelligent design”, irreducible complexity is unpersuasive pseudoscience whose sole purpose is to give young-Earth creationist dogma a patina of intellectual rigor in order to be able to argue falsely in acquiescent Republican-stacked federal courtrooms that it is not a violation of the separation of church and state to force every teacher to tell every child that yes, Virginia, there is a Santa Claus. But more on that in a moment.

First, my priors. I was raised Christian. I spent many years in the church, and even went on missions to persuade others to forge a personal relationship with Jesus Christ. The beginning of the end of my religious years was like something out of a Pureflix script, as poorly explained by Kevin Sorbo: I went to college and attended a meeting of Campus Crusade, and I chatted with the other Christian boys about the origins of *gestures around* all of this. I asked how they squared the evidence for evolution and the age of the Earth with the existence of the God we both believe in, and I meant every word of it. I was trying to keep my religion, not continue losing it. We treated each other well. The conversation was kind, cheerful, and civil. We met each other as we were – ignorant young adults – and I heard arguments presented with love and sincerity ranging from “God made the universe and can use whatever tools He wants to make it run” to “yes, the Bible says it all happened in seven days, but who knows how long a day is in Heaven, God exists outside of time”, etc. This was a nice moment in my life in which imperfect humans came together with good intentions to explore ideas together. And I found the Christians’ answers so unsatisfying that it was the beginning of the end of my belief in God – or at least, my belief in any specific deity as a necessary or productive component for humanity’s ability to know and describe the Universe. I read books on biology and anthropology and geology and cosmology and astronomy and became an atheist so gradually that I hardly even realized I’d lost touch with the man upstairs. Fundamentally, I still believe in humanity’s capacity to be persuaded to change its ideas, because it happened to me and I’ve seen it happen to others. I know that one of my faults entering middle age has been the temptation to view myself in a static sort of way – I bask in a cozy feeling that because I’m comfortable in my own skin now, I always have been. I’m an imperfect rationalist! I look for the truth even if it’s difficult or complicated. I have my biases, and I can absolutely be wrong. And it’s been a hard ten years watching the world go insane.

Still from "I Origins"

After watching the unchecked march of the religious right in my country (including their baffling choice of Messiah, Donald Trump – who worships no god but himself) – I come back to I Origins and think to myself, “Alright, solidifying the evolution of the eye is an interesting argument. But who is it for?” Christian supremacists have shown that they have little use for evidence or ideological coherence as they consolidate their power. Dobbs, Burwell, and other court decisions have made it clear the degree to which the federal judiciary has become a Calvinball venue for rubber-stamping right-wing policy that they can’t achieve via other means, culminating in Trump v. United States, an ably named case in which the Supreme Court unconditionally surrendered on behalf of the country. To borrow a phrase from the angel Loki (Matt Damon) in Dogma, Christian fascists only need one argument: “Do it or I’ll fuckin’ spank you.” This loud and deplorable faction’s assault on institutions of knowledge and science has culminated in a know-nothing certainty that the loudest, richest assholes in the room know what’s really going on, blaming those people you already hate for every problem, including many that don’t exist, and eliding past the ones caused and exacerbated as a matter of policy by their own elected selves. And it has gotten worse. The GOP was smugly denying climate change for decades before they gained the power to literally make it illegal to mention climate change in Florida law and policy. They were trying to foist religion back into schools for decades before Louisiana passed a law requiring the Ten Commandments to be displayed in every classroom. And from coast to coast in this country, right-wing politicians spent the duration of a deadly viral pandemic watching millions of Americans die as they formed a deliberate, strategic alliance with the virus itself, and while some of them were punished for it electorally, it seems to have collectively exited the American psyche as we barrel toward reelecting the man who offered to cure what ailed us with bleach and sunshine up our collective asses. The storm rages on, and King Donald scribbles it away with a Sharpie. I’ve run afield of the film a bit, but I guess I’m just tired. In 2014, I regarded I Origins as Cahill’s full-throated allegorical endorsement of the scientific method as well as humanity’s capacity for reasoned discourse, and I loved the film for that. But that faith has become harder to maintain in the face of evidence that knowledge doesn’t matter nearly as much as power.

After a seven-year time jump, Ian goes on a book tour chronicling his successful work replicating the evolution of the human eye in a lab using genetically engineered worms, and when I first saw the film, I was fresh off watching all 3 hours of the debate between creationist Ken Ham and science communicator Bill Nye. There’s a moment near the end of this debate in which the men are asked what it would take to change their minds, and while the Ken Hams of the world are happy to tell you that they need no facts whatsoever to believe that the Earth was created 6,000 years ago by Almighty God, the Bill Nyes will still volunteer that all it would take to change their beliefs is one single piece of evidence. This same sentiment appears in the text of this film, placed in the mouth of both Ian and the Dalai Lama, and then it goes a step further: It presents Ian with evidence for persistence of memory and reincarnation after death – evidence he could simply choose to ignore, because the idea of his dead girlfriend’s soul finding a new corporeal home is preposterous, disturbing, and sad to him. But instead, he does the right thing: He pursues the truth even if it doesn’t agree with his prior assumptions. In a parable featuring a single fact which upends Ian’s understanding of science, he and his team choose to react in an admirable way: Let’s do more science! I maintained this rosy view of the film’s third act even as the science turned out to be poorly designed and yielded mixed results. Pro tip for anyone testing paranormal activity: keep your methods consistent and don’t call out “correct/incorrect” unless you wish to be branded a poor scientist. But at least they tried! And in performing their messy and imperfect science, they not only made the ending feel grounded in reality, but they unlocked a whole new branch of research which a mid-credits scene all but confirms reflects reality in the film’s world.

Conversely, it’s fair to say that reality in our world has soured I Origins for me a bit. The film’s world can remain rosy because it doesn’t need to persuade me of what might change as a result of this discovery – it merely needs to maintain internal consistency. Ian’s proof (or rather, well-designed experimental model) of the evolution of the human eye would probably attract little notice in real life. And in the event it were noticed and perceived as a threat, I know there is an entire propaganda ecosystem which could be deployed to pillory, dox, threaten, and swat this man until he stops talking about it, just as it has been used against every other enemy of the religious right, from pediatricians to beer spokesmodels to climate scientists to IRS agents. I’m even further removed from the church that raised me than I was in 2014, but I still remember what I saw there: A few weirdos, a few kooks, a few fanatics… but mostly just…people. Ordinary people forming community with their neighbors, living their lives, and doing their best with what they had. I don’t really think all or even most religious people are fascists, dogmatic, or unreasonable – and I would regard it as a personal failure if I ever came to believe this, even as our government continues to operate lopsidedly in favor of that fringe minority, and a reliable percentage of Christians turn out to vote Republican no matter how violent or depraved the resulting governance turns out to be. I really hope I’m right to maintain my faith in people. I hope the ones who love the Lord Their God with all their hearts, souls, and minds will try to remember to engage those faculties – as should the rest of us, for whatever value they hold as metaphors for what makes us human. I hope history will swing back in a direction where facts and science matter more than holding up a Bible you haven’t read and cutting rich people’s taxes. Perhaps when that happens, I can have fun with a rip-roarin’ science vs. religion debate again.

Darren Aronofsky’s “Noah” (2014) (presented by 10 Years Ago: Films in Retrospective)

Poster for "Noah" (2014 film)

This review originally appeared as a guest post on 10 Years Ago: Films in Retrospective, a film site in which editor Marcus Gorman and various contributors revisit a movie on the week of its tenth anniversary. This retro review will be a bit more free-form, recappy, and profanity-laden than usual.

“But they ate from the forbidden fruit. Their innocence was extinguished. And so for the ten generations since Adam, sin has walked within us. Brother against brother, nation against nation, Man against Creation. We murdered each other. We broke the world, we did this. Man did this. Everything that was beautiful, everything that was good, we shattered. Now, it begins again. Air, water, earth, plant, fish, bird and beast. Paradise returns. But this time there will be no men. If we were to enter the garden, we would only ruin it again. No, the Creator has judged us. Mankind must end.”

Noah (Russell Crowe) tells his family a nice little bedtime story.

I’m going to toss out a hot take this Easter week and say that Noah’s Ark has a better claim to being the greatest story ever told than the life, death, and resurrection of Jesus Christ. That was the first thing I wrote in my notes for my re-review of Darren Aronofsky‘s 2014 film Noah, right before an all-caps reminder to myself: “DON’T BE AN INSUFFERABLE ATHEISTIC EDGELORD PRICK”. I sincerely wish to comply with that, but I’m certain some readers will see this comparison and think that I’m belittling the sweetness and mercy of my man J.C. in favor of his crotchety Old Testament Forebear, less likely to bequeath the Earth to the meek than obliterate them with fire and brimstone. I’m not praising or condemning that version of God (as if He’d care about my opinion anyway), but I sure do applaud that notion – as well as its encapsulation within the apocalyptic tale of Noah (Russell Crowe) and the Ark – for its sheer popularity among humans. The Genesis flood, which parallels other deluge narratives that exist around the world, all basically fit the mold of a rebirth of humanity, following punishment by one or more deities for their sins and excess. It has been used to justify some genuinely silly beliefs, such as George McCready Price‘s 1923 book, The New Geology, a 20th century repackaging of a fringe idea from a century earlier, which states that every piece of evidence that exists of an Earth that is older than 6,000 years can be attributed to the Great Flood of Genesis, which in addition to wiping out all of humanity, carved out every geological feature that we might erroneously conclude takes millions or even billions of years to form, and spread out a nice, orderly, stratified fossil record filled with naught but the Devil’s lies (which coincidentally possess the expected ratios of uranium, thorium, and lead). I’m trying to front-load all of my scoffery for the Young Earth Creationists, who deserve quite as little intellectual consideration as they give their own ideas, because I’m well aware that most religious people don’t really think that they live on a tapestry of pointless, Luciferian deceptions, but rather think that the universe can be whatever way we observe it to be, but that does not preclude the existence of a loving deity who set the whole thing in motion, because they find this idea appealing, as well as a theoretical source of virtue and moral truth. And this is fine by me, really, as a baseline idea. I had my first child shortly after this version of the Noah tale came out, and while I haven’t yet sent him to Sunday School to peer at the cartoon Ark with its cartoon elephants and giraffes sticking out with giant smiles beneath sun and rainbow, I have had to explain life and death to him, and in so doing, I’ve had to grapple with my own conviction that religious faith and tales about mortality are fundamental components of the human condition, and one way or another, my children will be exposed to both and have to decide for themselves which stories they find the most comforting. And, depending on where they land, they’ll have to try not to be insufferable, atheistic, edgelord pricks about everyone else’s comforting beliefs.

Still from "Noah" (2014 film)


The life and times of Jesus Christ are certainly popular, but they cannot be the greatest story ever told, if only because its adherents spend so much time ignoring or preposterously reframing them. Noah’s Ark, conversely, is a tale that humans have stood by through thick and thin because of its versatility as a tool of oppression and judgment. Humans, unique among apes for our perceptions of mortality and space-time, craft a uniquely human narrative: Do what I say or be judged wicked and face the wrath and apocalyptic vengeance of my god. The Curse of Ham (which does get a token nod near the end of the film) doesn’t even require any actual sins – it’s been used for the last thousand years to justify everything from medieval serfdom to the African slave trade, all on the grounds that some people are just born inferior because Ham (Logan Lerman) glimpsed his father’s drunken junk that one time.

The only specific sins called out in the Genesis narrative are violence and angel-fucking, and Aronofsky cleverly turns this in an environmentalist direction, crafting a version of barren Biblical landscape steeped in metaphor that hits hard in the modern age – a fallen wasteland dotted with distant, dying industrial cities, ancient technology, magical energy-carrying minerals, and a race of fallen angels called Watchers, rendered as beings of light trapped in the muck as huge, formless rock monsters, serving alternately as helpers and slaves of humanity, doing violence and hard labor alike in service to their will. This is Lord of the Rings meets Mad Max, with everyone in this land acknowledging the existence of the Creator like a fact they all accept in living memory, but with each interpreting it differently depending on their own inclinations and desires – just like most of the modern humans watching this version of this tale today. The descendants of Cain – the cursed, wandering son of Adam and Eve and the first murderer – have mined the Tzohar, built the cities, scorched the landscape, killed each other over resources, and hunted and eaten the animals. Aronofsky takes a few other creative liberties with Noah and his family, taking the biblical narrative that they are the descendants of Seth, but adding in that they are vegetarians in tune with the land who won’t even pick an errant flower if they don’t have some use for it. As one might expect, there were a few Christian biblical scholars and barbecue enthusiasts who felt the need to scoff at this notion when the film came out – and in all fairness, I did re-read the Genesis account for the first time since I was a child before rewatching this film, and it’s pretty clear that Aronofsky tossed out the parts of the story that didn’t fit his environmentally friendly message, including Genesis 9:3-5, which explicitly states that humans have a green light to kill and eat any animal that walks the Earth, provided they drain its blood first. Granted, the very next verse also contains an admonition not to kill other humans, and we all know how studiously humans have obeyed that one over the millennia.

Still from "Noah" (2014 film)

This version of Noah (Russell Crowe) is as much of a patriarchal cipher as the one in the holy books, being virtuous because he is deemed so by the Creator, and knowing best because he is the man in charge of family and boat-making operation alike. And it’s hard to argue with that designation when reality itself seems to bend to his hallucinatory visions, making a forest spring forth spontaneously from nothing but a seed from Eden, a clever hand-me-down from Puckish man-of-the-mountain Methuselah (Anthony Hopkins), who is old enough (to his grandson Noah’s mere 600 years) to know that men of the Pentateuch can make miracles happen with nothing but their trusty thumbs and the confidence of a dude who speaks supernatural subtext aloud. It is with this miracle-thumb that Methuselah sets the third act in motion, curing the infertility of Ila (Emma Watson), an orphaned girl whom Noah finds as a child and raises as his own daughter. As she becomes a love interest for Noah’s eldest son Shem (Douglas Booth), the tension between her doomed desire to bear children for the boy she loves and Noah’s conviction that humanity has been judged guilty and must all die after saving the animals, becomes tension over whether Noah will slay whatever newborn child that his daughter should produce aboard the Ark. When I saw the film in theaters a decade ago, I daresay this act is when I checked out the most – acts 1 and 2, which consist of antediluvian Ark-building and angelic warfare with the wicked hoards of Tubal-cain (Ray Winstone), were absolute bangers. And then, following the Doom of Man, comes a schism within this family, as Noah’s wife Naameh (Jennifer Connelly) – a woman-shaped instrument like so many in the ancient and modern writings of men – acts as conscience and voice of mercy to Noah’s commitment to baby-murder, and his son Ham bitterly bonds with a stowaway Tubal-cain, who acts as the devil on his shoulder, trying to manipulate and corrupt whatever remains of humanity, because…why not? Nothing else to do in Waterworld. This isn’t the first or the last time that Aronofsky’s strained, secondary Garden of Eden metaphor would fail to fully land with me (hi mother!), but to my great surprise, I found myself sympathizing more with Noah this time around, if only because his dilemma actually seems to make some rational sense in this world. His God is definitely real, and has definitely just obliterated nearly all of humanity, and Noah has definitely been put in charge of deciding whether any humans get to live after that’s over with. Let’s set aside the question of whether any God-handwavey solution to this genetic bottleneck amounts to an admission that the entire Ark project was unnecessary anyway (I said don’t be an insufferable atheistic edgelord prick, Glenn!), and let’s embrace the Chosen One narrative that sees its prototypical form here. Here is Noah, Champion of God, placed in the position of having to decide whether his family, whom he loves and knows to be virtuous and good as he has taught them to be, should live or die.

If nothing else, this sequence was a stark reminder of the tantalizing nature of fanaticism, main character syndrome, whatever you want to call it. Noah is the main character, he was right about everything, and he holds the power of life and death over all of humanity because that’s what the story says: the great, megalomaniacal tale of the human race. The greatest story ever told. And the question of what to do with that power – whether to believe in a future in which humanity can be at peace with one another and in balance with their environment – is the fundamental question of the human condition. Do we sapient apes choose life, and hope, and a future for ourselves? Or do we let it all get swept away, taking meager solace in the notion that something will live on, and perhaps even become smart enough to ask these questions again, as we, God’s greatest mistake, return to the dust whence we came?

I don’t have an answer. But in the fullness of time, I’m sure we’ll come up with one together.

FilmWonk rating: 7.5 out of 10