By Terry Sherwood
Brilliant, astonishing and like fingernails slowly moving over a chalkboard is what Red Rooms, a French-Canadian thriller is. Minimalist cinematography coupled with paralysis of a devastating story with superb actors whose performances shift gears toward a conclusion that hits like a gut punch. Director /writer Pascal Plante tells the story of a fictional high-profile murder trial of serial killer Ludovic Chevalier. The trial is seen through the mind of Kelly-Anne (Juliette Gariépy) a “sad-faced siren’ who is pulled into the world of the case revealing her own grotesque life. Kelly Anne brilliantly stately played through the film is fascinated and becomes entangled in a sinister quest for the purchase of a missing illegal video of a murdered 13-year-old girl that is available only in Red Rooms on the Dark Web.
Gariepy’s portrait of the calculating cold stone-faced tech-savvy fashion model is perfectly juxtaposed with the outgoing passionate conspiracy spouting Clementine (Laurie Rabin) whom she befriends as they are both attending the trial. The film doesn’t shy away from the effect of a heinous crime and the soreness in the souls of the victim’s families is brought forward mirroring the unseen world of the survivors. The theme of love, of being celebrated no matter what they have done and the mistrust of the media all come into play in the deeply emotional story that ends like a slow blade going into you.
No jump scares or graphic scenes as the two women get deeper into their private obsession with the case and the man on trial. Devastating moment of gesture as Kelli Anne is escorted out of the courtroom toward the end of the film dressed as a victim. Red Rooms is an indictment of obsession even if that is part of redemption in a direct visceral must-see film.
Red Rooms screens as part of Overlook Film Festival 2024.
Bloody Flicks 