The Red Rooms: What is this chilling thriller?
Released in French cinemas on January 17, The Red Rooms is a thriller directed by Quebec director Pascal Plante. The plot follows a young woman from Montreal, Kelly-Anne.as he prepares to attend the first day of the trial of a man accused of killing and dismembering three young teenagers.
And to add even more horror to the horror, he filmed his actions, and the videos were broadcast live on the dark web for customers, in what are called “red rooms”. As in every sordid affair involving a serial killer, the latter has admirers. And Kelly-Anne happens to be one of them. Fascinated by the man and by this sordid affair, she will try to get her hands on the last piece of the puzzle, following the progress of the trial.
The cast includes Juliette Gariépy as Kelly-Anne, as well as Laurie Babin as Clémentine, another admirer of the killer, who becomes friends with Kelly-Anne.
The power of off-camera
The Red Rooms is a chilling and extremely well-crafted thriller that immerses viewers in the twists and turns of evil and tackles the topic of the public’s obsession with serial killers and other dark news. What makes this film particularly compelling is the exploration of the complex duality of the protagonist, Kelly-Anne. Her ambivalent nature – oscillating between possible admirer of a monster and solitary vigilante – is at the heart of the story. This ambiguity creates palpable tensionthat fascinates and disconcerts, pushing viewers to question their own perceptions and prejudices.
Unmissable for all fans of the genre, Pascal Plante’s film that transports us into a sordid trial, arousing our morbid curiosity and questioning it at the same time (why should we watch these videos?). There where The Red Rooms very strong point is that it manages to make our blood run cold, without showing anything (or almost nothing) of horror. It all happens offscreen, and mostly through fantastic sound work (particularly during a courtroom scene, which reaches a horrific peak).
Source: Cine Serie
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