‘Red Rooms’ Review: A True Crime Gawker Slips Into Obsession During a Grisly Murder Trial

As someone who has spent countless hours delving into the darkest corners of the internet, I can’t help but feel a strange kinship with the protagonist of “Red Rooms”. The film masterfully captures the unsettling allure and grotesque fascination that these online spaces can hold. It’s a chilling portrayal of obsession, one that leaves you feeling as if you’ve taken a long soak in a bathtub full of cold water.

The intense interest in serial killers like Jeffrey Dahmer and Ted Bundy, which extends beyond simple morbid curiosity about the crimes, can sometimes border on the disturbing. One might ask, how many dramatizations are necessary? At some point, it seems that we’re not learning anything new. Instead, it appears to transform into an unhealthy obsession with real-life acts of violence such as torture, rape, and murder. It’s unsettling to see these infamous criminals becoming a form of ongoing entertainment, continually exploited for a large, seemingly insatiable audience.

The French-language film “Red Rooms” confronts that unsettling subject head-on in an imaginative way. This movie, directed by Pascal Plante and now showing in select U.S. cinemas after a Canadian premiere a year ago, revolves around a woman drawn to a man on trial for the gruesome murders of kidnapped teenage girls.

Her intense focus on the case might have an unforeseen reason. Despite its calm and collected portrayal, the movie creates an unsettling ambiance akin to a sickness, one that infects viewers with an unhealthy obsession for such killers. Unlike many serial killer films, this one avoids graphic violence or indulging in sadism. However, it manages to be even more disturbing – at times the discomfort is so intense that you might think no cleansing could remove the taint of association from a viewer’s mind.

As a dedicated fashion model residing in a luxurious Montreal high-rise, I find myself spending an unusual pre-dawn hour outside on a gloomy downtown street. The reason for this unconventional choice isn’t due to hardship, but rather, an intense curiosity that drives me. I yearn to be among the few fortunate individuals granted public access (as opposed to witnesses or media) in a courtroom where the trial of Ludovic Chevalier is set to commence. This man is infamous for his alleged crimes: kidnapping, torturing, and murdering three teenage girls, which were reportedly recorded for a paying audience on the dark web. The discovery of two video recordings and two bodies has been made, leaving us uncertain about the fate of a third girl, who is presumed to be another victim in this horrifying ordeal.

As the sly-looking Chevalier remains silent and unresponsive within his enclosed space during the trial, both sides present their arguments. Pierre Chagnon, the defense attorney, mainly focuses on creating uncertainty by suggesting that the overwhelming circumstantial evidence is not enough to definitively prove his client’s guilt. On the other hand, Natalie Tannous, the prosecutor, leverages the intense emotions stirred by heinous crimes to her advantage, openly discussing gruesome details that may cause distress for those who lost loved ones in the case.

However, who is Kelly-Anne, seemingly quiet and aloof, in this setting? Could she merely be a spectator? Her reserved demeanor sets her apart from Clementine (Laurie Babin), an enthusiastic youngster transported from rural areas to gaze at the “Demon of Rosemont,” allegedly. For some unknown reason, she believes he’s as pure as fresh snowfall. She embodies a maniacal, Manson-esque gaze, a symptom of mental illness spreading like a pandemic.

Initially, it’s hard not to feel sympathy for Kelly-Anne, finding herself in the company of this chaotic individual. The situation becomes even more challenging when she ultimately allows the younger woman to reside with her out of necessity. However, it is later revealed that they have a mutual benefit. Clementine appears to be a lost soul seeking guidance, whereas Kelly-Anne, who seems to lack any social connections, could benefit from some human interaction.

It turns out this chilly protagonist has been spending unhealthy time on the dark web herself, wading into gambling, cryptocurrency and worse. Is she an ambulance-chaser even more deeply screwed-up than her hapless houseguest? As the trial plods on — and at least one official witness points out the omnipresent “groupies,” saying they “should be ashamed” of their presence — we begin to wonder when Kelly-Anne’s obsessions will reach a tipping point, causing ruin to herself or others.

Based on rumors sparked by Plante’s exploration into questionable online content during COVID lockdown, “Red Rooms” presents a protagonist shrouded in mystery. Could she be as hollow and devoid of spirit as she appears? Does her involvement with the underworld criminal circles offer the only thrill she can experience? The screenplay delivers an unexpected twist that, while dramatic, seems somewhat implausible. However, what remains haunting after this revelation is the unsettling feeling of being drawn too close to a person whose fascination with dubious concepts has become a dangerous obsession.

The sterile atmosphere of both the immaculate courtroom and Kelly-Anne’s barren apartment adds an eerie, moldy feel, just like Gariepy’s deliberately ambiguous portrayal. At some point, the characters are shown videos of the crimes in Chevalier’s garage. We only hear the sounds – it’s agonizing. However, what makes this experience even more unsettling is the heroine’s expressionless gaze as she watches (not for the first time), a sight that most people would go to great lengths to avoid. This sequence, relying solely on suggestion, manages to be more chilling than the grisliest scenes of torture in a typical horror movie.

This feature excels in every aspect, with a unique atmosphere that blends sophistication and confinement, as if on the verge of unleashing dark turmoil. The tension is intensified by Vincent Biron’s striking visuals, Dominique Plante’s foreboding music, and other significant contributions.

2024-09-06 23:17

‘Red Rooms’ Review: A True Crime Gawker Slips Into Obsession During a Grisly Murder Trial

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