By Becca Johnson September 4, 2024
True Crime is something that captivates thousands of us across the world, and has been on the rise for years. From documentaries to podcasts, stage shows to YouTube videos, the general public can’t help but be grossly intrigued by these stories of murder, abduction, the dark web, cults and more. Though new thriller 'Red Rooms' isn’t based on a true story, it dares to explore the obsession those of us have with these stories, and what could happen when we become a little too invested.
The French-Canadian crime thriller 'Red Rooms', dubbed as one of the most disturbing of the year, is directed by Pascal Plante and stars Juliette Gariepy in the leading role. With tremendous performances, a sharp script that combines tension with mystery and a memorably harrowing story at the centre, 'Red Rooms' is a must-watch for fans of the genre.
Synopsis
The high-profile case of serial killer Ludovic Chevalier has just gone to trial, and Kelly-Anne is obsessed. When reality blurs with her morbid fantasies, she goes down a dark path to seek the final piece of the puzzle: the missing video of a murdered 13-year-old girl, to whom Kelly-Anne bears a disturbing resemblance.
Review
What immediately sticks out with 'Red Rooms' is its ability to get under your skin. Not sparing any gory details about the crime that took place towards these young girls, the script throws us straight into the nitty gritty with an intense courtroom scene that lays out what happened. It’s admirable that this is done purely through dialogue, sparing us of any shocking, brutal imagery that’s purely there to shock. Too often, movies of this nature aim for shock factor, and will stop at nothing to get the audience feeling totally grossed out and uncomfortable. The film cleverly understands that what’s left to the imagination is often enough to invoke the fear that these movies desire, and the dialogue itself is harrowing enough without the added visual element. Though 'Red Rooms' should be approached with caution due to its detail and discourse surrounding these despicable crimes, it’s refreshing to not have to worry about what we’ll see as well as what we can hear. It’s much cleverer than that.
The technical aspects are not only masterful, but also add to the disturbing nature of the film. Each sequence is long in runtime, with mostly static shots that incorporate very slow camera movements to take us from person to person, facial expression to facial expression, honing in on how unsettled everyone is. Furthermore, this technique mimics one of the main themes of the storyline - surveillance. The scenes are uncomfortably long for a reason, forcing us to stay with these moments for longer than we deem necessary. A few audience members may wish for some scenes to speed up a little, as they definitely take their time, but those who are willing to sit with each sequence will hopefully appreciate the intensity they bring. Each shot is quite clean, crisp and sterile, opting for a ‘less is more’ approach in most aspects. The dialogue is to the point and delivered matter of factly, particularly during those court-room scenes, not leaving much room for breath. Technically speaking, it moves like clockwork with each tiny moving part elevating the heinous nature of it all.
The serial killer thriller is quite a saturated sub-genre, yet 'Red Rooms' manages to stand out and make its mark with its central themes. Our fascination with serial killers may seem trivial, but what the script sheds light on here is how dangerous this can be, especially when taken too far. We often wrap ourselves so tightly into other peoples disgusting stories that they lose the one thing that makes them famous - how inhumane they are. It ventures into this idea with a few of its characters, showing how viewing the crimes committed can alter the opinion and emotion of the jury followers of the case. If we saw with our own eyes what these people were capable of, instead of just hearing about it, would we really be hitting play on the next episode of their life adaptation? With the focus on the dark web, it also gives a little look into how easy it is to find things online. From padlock codes to email passwords, it’s all out there…if you know where to look. This adds another layer of unease into the script, forcing us to think about how much of our lives are so easily accessible.
Tying everything together beautifully are the performances, particular that of our lead Juliette Gariepy. Playing Kelly-Anne, an individual who clearly has something to do with the case (though we’re unsure of what, exactly), her performance is as stunning as it is unsettling. Slowly showing her true colours as the plot progresses, her mysterious and slightly eerie nature is invaluable to keeping you invested, with Garipey acing it. Most of the mystery of the story is within the character of Kelly-Anne, and not always knowing how to feel about her adds something interesting into the mix. Starring opposite is Laurie Rabin as Clementine, another individual wrapped up in the case who swears Chevalier must be innocent. The two form an unlikely bond as their interest in the case forces them together, and due to them being on two sides of the spectrum as far as the outcome of the case is concerned, the scenes with the pair interacting are highly unpredictable and surprising. It’s hard to tell at any point where the script will go, in character or in plot.
'Red Rooms', though not for the faint of heart, is an absolute masterclass in creating an intriguing crime thriller that you can’t take your eyes off. It hooks you in with its unique-sounding premise and promise of a disturbing nature, and keeps you invested with its top-notch performances, twisty storyline and superb filmmaking. From its camerawork that mimics the central themes to the unpredictability of the characters within the story, it’s a wild ride that’ll impress fans of true crime and taut thrillers.
Star Rating
'Red Rooms' releases in cinemas September 6
Comments