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An interesting amalgam of character study and courtroom drama, two distant filmmaking styles that synchronically procreate this unique blend, which attempts to elaborate on the concepts of corruptive transgression.

I love how the protagonist was put in a position that could be questioned from a moral point of view but cannot be labeled as good or bad, as her desultory conscience, rather the decisions she makes, places her in a sheath of ambiguity.

Once the film ends and the credits start to roll, all you will be thinking about whether Kelly Anne stood for the right or for the wrong; did she give in and surrender to her deviant infatuation? Or did she finally experienced feelings of guilt and overcome her unhealthy obsession?

I adore it when movies leave questions for the audience to ponder on and "Red Rooms" left aplenty to think about.

Greetings again from the darkness. Many of us (perhaps too many) are drawn to the dark side - topics that dig into the ugly side of human nature that Mr. Rogers mostly avoided in his neighborhood. A quick look at the popularity of true crime shows provides proof of the fascination that corresponds to those who don't subscribe to the golden rule. Writer-director Pascal Plante has a track record of film festival success and his latest fits the mold - fascinating to watch with a twist that may have viewers questioning their own assumptions.

Ludovic Chevalier (Maxwell McCabe-Lokus) is a demented serial killer on trial for the murder of 3 teenage girls, ages 13, 14, and 16. He is facing multiple additional charges including sexual abuse, necrophilia, torture, etc. He used 'red rooms' to film these atrocious actions and then sold the recordings for profit. The opening statement from prosecutor Chedid (Natalie Tannous) stuns us with details of crimes, as well as informing us that 2 of the 3 tapes will be shown to the jury. Suspect Chevalier sits quietly in a glass cage as the court proceedings take place. However, the serial killer is not the most interesting character in this story. Seated in the gallery as close to Chevalier as possible is Kelly-Anne (Juliette Gariepy) and Clementine (Laurie Babin). We learn that it's common for serial killers to have groupies ... not unlike rock stars, movie stars, and professional athletes.

Each day, Kelly-Anne and Clementine grab their courtroom seats and take in the show. The two form an unlikely and shaky friendship. See, Kelly-Anne is a model and high stakes online poker player. She has a sophisticated, AI voice-activated computer system in her high-rise apartment. In comparison, Clementine is a simple woman convinced that Chevalier is innocent because of his warm eyes. She feels a bond to him, and assumes Kelly-Anne shares this bond and belief.

Filmmaker Plante starts us off in a similar fashion to other courtroom dramas, however this one is also part dark web tutorial and psychological case study - not to mention a peek at cryptocurrency and hacking. Like Clementine, we assume we understand Kelly-Anne's motives, but there is an old saying about when we assume. As the story develops, it's the psychological aspects that hold our attention. Stone-faced Kelly-Anne only rarely offers cracks in her façade, and Plante manages to add tension to online poker and dark web auctions.

This was filmed in Montreal in French language, though we get only minimal shots of the city. Instead, much of the time is spent on close-ups of stoic Kelly-Anne and those eyes that are so difficult to interpret. Almost no gore is shown here outside of a single screen shot inside a red room, and the atrocities are wisely left to our imaginations. However, there is one quite disturbing sequence that finds Kelly-Anne in a specific costume for one day in court. I'll admit to having to Google Kelly-Anne's username to realize that 'Lady of Shallot' is a reference to a Tennyson poem. The end could be described as a twist (depending on your own previous assumptions), and yet also open-ended enough to generate plenty of analysis and debate. Pascal Plante has delivered quite a smart and complex character in Kelly-Anne.

Opened in select theaters on September 6, 2024.

Was pleasantly surprised after randomly catching this film on Crave. Sound design and cinematography are both superb; very moody atmosphere is developed, which does an excellent job at enhancing the aura the script evokes. From the startling glance by the accused to the gorgeous shots of the city, both elements were exceptional, great in the LUT department as well.

The acting is also commendable by all involved, particularly the main actress. I see some reviews saying she was one-dimensional or lacking in emotion, but I found that she really pulled off a mysterious and almost sociopathic vibe very well. Quick mention to wardrobe, which was also great here.

A few minor qualms with the script, I felt that there could have been a bit more depth in the development between the two main female characters, but then again I think that would have also been a tricky balancing act.

Overall, I can highly recommend this to anyone who has a penchant for thrillers with elements of horror, but this film shows that you can accomplish the horror part very well without being graphic or obscene.

This was right up my alley as it combined two of my obsessions; serial killers and computers.

A young model with a resemblance to a murdered teenage girl attends the trial of the suspected murderer. She meets a fellow courtroom enthusiast and they a join the maddening crowds at the spectacle.

The suspect is kept in a room within the courtroom and he is kept behind glass.

The model is an internet geek and soon learns of the dark web where supposed snuff films are available at auction for the right price. She hacks her way into that world in order to uncover the missing video of one of the victims.

Red Rooms is a realistic portrayal of the dangers of modern technology.

"Red Rooms," the 2023 Canadian thriller, grips you from the first frame and doesn't let go until the final credits roll. The plot weaves a web of suspense and obsession around the high-profile trial of Ludovic Chevalier, a notorious serial killer. What sets this film apart is its brilliant direction, which skillfully navigates the fine line between horror and psychological thriller. The tension builds relentlessly, leaving you on the edge of your seat, eager to uncover the dark secrets that lie beneath the surface. The cinematography is hauntingly beautiful, capturing the eerie atmosphere of the story while maintaining a visceral connection to the characters' emotions.

At the heart of "Red Rooms" lies a captivating exploration into the psyche of Kelly-Anne, a character whose obsession with the case blurs the boundaries between reality and her own morbid fantasies. This journey delves deep into the mind of a serial killer groupie, a character study that is as disturbing as it is engrossing. The film doesn't shy away from the uncomfortable truths of human fascination with the macabre, painting a raw and unflinching portrait of a woman who becomes entangled in a sinister quest for the missing video of a murdered 13-year-old girl. The performances are nothing short of exceptional, with the lead actress delivering a tour de force performance that brings Kelly-Anne's complex character to life with haunting authenticity. "Red Rooms" is a fantastic entry in psychological thrillers genre, offering a chilling yet thought-provoking experience that will linger long after the credits have rolled.