In the world of high fashion, Kelly-Anne is a stunning model, and in the realm of technology, a genius. But beneath the surface, she harbors dark fixations, fixated on a serial killer. Her life is a stark contrast between her avant-garde style in front of the camera and her understated private life. Kelly-Anne's obsession is "The Demon of Rosemont," a serial killer who has been brutally murdering teenage girls and broadcasting the atrocities on the dark web to the highest bidders. The red rooms of the film's title signify both the internet forums where these videos are disseminated and the physical locations where these snuff films are created. The case has captivated the world's attention, with the snuff films that once seemed the realm of fiction now proven to be terrifyingly real. As the trial of the suspected murderer, Ludovic Chevalier, commences, the judge warns the jurors they should leave immediately if they're not prepared to witness awful things. Red Rooms, a deliciously lurid courtroom drama cum techno thriller directed by Quebecois filmmaker Pascal Plante, premiered at Montreal's 2023 Fantasia Film Festival. The film offers a star-making role to relative newcomer Juliette Gariépy, who portrays the enigmatic and disturbed model-cum-tech detective, Kelly-Anne. For more on this thrilling film, read the full review at https://carsnewstoday.com/entertainment/uncover-the-dark-obsession-1-model-1-serial-killer-and-a-web-of-deceit/.
A Courtroom Thriller of Unnerving Dimensions: Red Rooms
The intricacies of the case are shrouded in ambiguity. For instance, the exact number of victims remains a mystery, with two gruesome videos circulating online and the mutilated bodies of three girls discovered on Chevalier’s property. Furthermore, while the film refrains from depicting violence on-screen, it does not hesitate to describe the atrocities in unflinching, clinical detail, leaving our imaginations to conjure the worst.
Francine, the mother of the youngest victim (Elisabeth Locas), has become the emotional linchpin of the families in the courtroom and the media. Her impassioned pleas to the press for information have captured the nation’s heart, even as Plante, through Kelly-Anne’s gaze, ventures into the uncomfortable territory of questioning Francine’s motives. Is her distress genuine, or is she exploiting the tragedy for her own purposes? This is a film unafraid to probe the darker aspects of human nature.
Francine also vocally expresses her disdain for the serial killer enthusiasts who attend every court session, and Kelly-Anne is, ironically, one of them. When not indulging in high fashion or winning bitcoin in online poker games, she sleeps in an alleyway behind the courthouse to secure a front-row seat to the proceedings. Her fascination with Chevalier is palpable, as she scrutinizes every micro-expression on his impassive face.
Yet, what drives Kelly-Anne’s fixation remains a mystery. Plante’s direction, script, and Gariépy’s performance all deliberately withhold the motivations behind her bizarre obsession. Is she acquainted with Chevalier? Is she enthralled by him or driven to solve the case? As the press and prosecution are convinced of Chevalier’s guilt, the masked murderer in the videos raises doubts, and the defense may have a legitimate case. The eyes seem to belong to him, but is that sufficient evidence?
Dissecting the True Crime Phenomenon
Laurie Babin's Clementine is another fervent attendee at the proceedings, echoing Kelly-Anne's conviction in Chevalier's innocence. With unbridled passion, she takes to the streets, vociferously decrying the manipulation of evidence and the importance of due process to any camera that will listen. In stark contrast to Kelly-Anne's stoic reserve, Clementine is a maelstrom of fervor. As the two women tentatively forge a bond, we're left pondering whether Kelly-Anne shares Clementine's unwavering beliefs; she assumes the role of devil's advocate in their conversations, albeit with a hint of restraint.
Enigmatic as she may be, Kelly-Anne seems drawn to extreme behavior with an almost primal fascination. Yet, she observes it all with the detachment of an outsider, scrutinizing humanity, emotion, and conviction. The adaptability that makes her a stellar model has left her adrift in real life, but her dispassion serves her well in poker and online sleuthing. It's as if she can decipher any code, uncovering patterns in the digital realm that others would overlook. The gradual build-up of Kelly-Anne's strategy is masterfully orchestrated by Plante, and as we watch the pieces fall into place, it's a truly breathtaking portrayal of the internet's dark underbelly.
The spotlight shines brightly on our killer leading lady.
The role of Kelly-Anne is a tour-de-force; it's the kind of complex, multifaceted role that actresses crave, and which rarely come along. The only recent U.S. equivalent that comes to mind is David Fincher and Rooney Mara's collaboration on The Girl With the Dragon Tattoo, and even Lisbeth Salander would tell Kelly-Anne to dial it back a notch. Juliette Gariépy delivers a mesmerizing performance, injecting subtle nuances of life and humor into every scene, defying expectations of a more clinical approach. She keeps surprising, scene by scene, millisecond by millisecond, as if Kelly-Anne is surprising herself just as much. Gariépy is somehow in total control of a character utterly out of control, yet exuding an aura of control.
The climax of Plante's narrative is a jaw-dropping revelation, a true masterstroke. Red Rooms is a scathing critique of our salacious relationship with true crime – the media, the public, and the law itself – laying bare our darkest impulses like a crimson-stained canvas. Like those giallo films of yesteryear, it can be pulpy and over-the-top; Kelly-Anne remains a stunning model slash brilliant computer hacker, after all. But in its grandeur, it approaches an operatic truth, exposing the perversity that lurks on both sides of justice's scales.
The eagerly awaited Red Rooms is now available for streaming on demand via Apple TV+.
UPDATE: Oct. 2, 2024, 2:24 p.m. EDT After its prestigious North American premiere at the renowned Fantasia Film Festival 2023, Red Rooms underwent a meticulous examination. This assessment was initially published on July 29, 2023, and has since been revised to align with its digital release.
