Thriller RED ROOMS Will Make You Feel Icky, in the Best Way

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As a seasoned crime drama enthusiast who has spent countless hours delving into the darkest corners of true crime narratives, I must confess that Red Rooms has left an indelible mark on my psyche. This gripping thriller, which garnered critical acclaim in 2023 and is now gracing our screens, is a testament to the allure of the enigmatic and the macabre.

As a captivated viewer, it’s hard to ignore the fact that our shared intrigue with chilling true crimes and serial killers has become an integral part of our daily lives. Even those who find violent action movies distasteful might spend hours delving into gruesome murder stories in vivid detail, without a second thought. It’s an unusual preoccupation we all seem to share. How is it possible that someone, perhaps someone we know as a neighbor or coworker, could commit such horrific acts? This intriguing question and fascination form the core of “Red Rooms“, one of the most unsettling and heart-racing thrillers I’ve encountered in quite some time.

2023 saw Red Rooms earning festival accolades, and just like other less mainstream games, it’s now reaching a broader audience this year. As a gamer, I find myself captivated by the work of writer-director Pascal Plante who delves into the intriguing psyche of individuals – in this instance, young women – who are enthralled by serial killer cases and sometimes develop an unusual fascination towards the suspected perpetrators.

The story revolves around the trial of accused serial murderer Ludovic Chevalier (Maxwell McCabe-Lokos). He is suspected of not only the brutal torture and murder of three school girls but of filming his actions. Those tapes went to the highest bidder on the dark web, in so-called Red Rooms. Only two of the videos have surfaced, to screen in the courtroom. While the media has roundly decided Chevalier is guilty, reasonable doubt makes the trial less open-and-shut.

Kelly-Anne, a resident model from Montreal, regularly sets up camp each morning to secure a courtroom spot and witness the intriguing developments in the ongoing trial, specifically focusing on the accused, the victims’ families, and any gruesome details that might be revealed. Outside of her courtroom routine, Kelly-Anne maintains a simple lifestyle. She’s a well-known fashion model, but her living space is compact and minimalistic. When she’s not working or exercising solo through racquetball, she spends much of her free time exploring the depths of the dark web. It quickly becomes clear that she has an intense fascination with uncovering the final video of the murder case, but the purpose behind this obsession remains a mystery.

In the early stages of my usual routine, I cross paths with Clementine (Laurie Babin), a resilient runaway who arrived in Montreal for the trial with minimal resources, yet unwavering faith in Chevalier’s innocence. In spite of myself, I find myself spending time with Clementine, and our friendship, though fragile, begins to form. Could it be that Clementine has found an ally in me? Or is it possible that I am manipulating Clementine’s fervor for my own enigmatic motives? As always, Plante keeps the cards close to her chest in Red Rooms>.

In our time with Kelly-Anne, despite spending considerable hours with her, we fail to grasp her genuine intentions due to standout performances by Plante and Gariépy. We’re left wondering if she supports Chevalier’s innocence, is fascinated by the crimes themselves, or holds both views simultaneously. It’s unclear whether she believes in his guilt but still idolizes him. Instead, we are presented with Kelly-Anne’s actions, which range from perplexing to unsettling and ultimately alarming as the film unfolds. The term “Taxi Driver” is often used when discussing a solitary, disturbed protagonist, yet this character deviates from that stereotype, adding an intriguing layer to the captivating narrative of “Red Rooms“.

In this film, the director demonstrates exceptional cinematic skill, particularly in the opening scene which is a continuous seven-minute shot of the two lawyers presenting their opening statements to the jury. The camera moves freely around the courtroom as we listen to the harrowing accounts of the three young victims’ grim fates. This allows us to become familiar with the courtroom layout, the key players, and finally, focus on Kelly-Anne’s resolute, unaffected face amidst the terrible events unfolding. It’s a powerful technique for setting the stage and revealing our protagonist’s enigmatic expressions amidst such horror.

The movie includes one of the most nerve-wracking scenes I’ve ever witnessed, featuring an individual typing in isolation at their apartment. I won’t reveal the outcome or reason, but as the film reaches its peak, Kelly-Anne navigating between clandestine websites, and another outstanding portrayal by Gariépy, is just as thrilling as any scene from a Mission: Impossible movie. Last year’s review of Red Rooms stated that it “Out-Finchers Fincher,” and this scene embodies precisely that sentiment.

I find the film “Red Rooms” remarkably moving and deeply unsettling. I hadn’t anticipated that a thriller centered around true crime enthusiasts could have such an impact, but it has left me pondering long after viewing. I’m confident you’ll feel the same way too.

Red Rooms is in limited release now. If you get a chance to see it, don’t miss it.

Red Rooms ⭐ (4.5 of 5)

Kyle Anderson serves as the Senior Editor at TopMob, where he’s also the host of the engaging weekly pop culture exploration podcast titled Laser Focus. To keep up with his insightful film and television reviews, simply click on this link. Don’t forget to follow him on Instagram and Letterboxd for more updates!

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2024-09-11 22:02