The Psyche of Obsession

Read Time:3 Minute, 47 Second

MOVIE REVIEW
Red Rooms (Les chambres rouges)
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Genre: Crime, Horror, Mystery, Thriller
Year Released: 2024
Runtime: 1h 58m
Director(s): Pascal Plante
Writer(s): Pascal Plante
Cast: Juliette Gariépy, Laurie Babin, Élisabeth Locas, Maxwell McCabe-Lokos, Natalie Tannous, Pierre Chagnon
Where To Watch: theatrical launch in New York on September 6, 2024

RAVING REVIEW: RED ROOMS takes a deep and emotional dive into the shadows of human fascination with darkness through the eyes of Kelly-Anne (Juliette Gariépy,) a woman drawn deeply into the grim spectacle of a criminal trial. This film stretches beyond the typical boundaries of courtroom drama, presenting a stark exploration of obsession's pull. Gariépy delivers a compelling portrayal of Kelly-Anne, capturing the eerie allure of this unsettling trial with intense realism.

Pascal Plante, known for his attention to his characters' psychological undercurrents, directs this narrative with absolute precision. The film starts with clinical, measured shots reflecting the protagonist's mindset, taking us back and forth in the criminal trial. As her mental stability unravels, so does the cinematography, shifting to unsteady, handheld shots that pull viewers into her psychological maelstrom.

RED ROOMS shifts focus from the heinous acts of a male serial killer to the profound impact these acts have on a female observer, challenging the media’s glamorized depiction of crime. The film dissects the allure of true crime, suggesting how it can sometimes serve to glamorize rather than condemn.

RED ROOMS employs a range of visual symbols that deepen the psychological tension throughout the film. The repeated motif of mirrors reflects Kelly-Anne's fragmented self-perception. It symbolizes the dual nature of public fascination with crime—both a reflection of societal values and a distortion of them. This symbolism adds depth to the narrative, inviting viewers to consider what is shown and what is mirrored in society.

The film's auditory layer enriches this theme; a chilling score blends traditional thriller elements with modern qualities, creating an immersive experience. Combined with a nuanced soundscape that ensures the tension is palpable, keeping audiences on the edge of their seats.

The supporting cast adds depth to the narrative, with Maxwell McCabe-Lokos portraying Ludovic Chevalier with a quiet menace and Laurie Babin enriching the film's exploration of isolation and obsession as Clementine. Their performances add to the central narrative, illustrating the complex interplay between individual and more prominent unhealthy obsessions.

A pivotal scene in the story, focusing on Kelly-Anne’s intense reactions, gives us a sequence that captures the ethical and moral quandaries at the film's heart, presenting a stark commentary on societal morbid curiosity. These scenes carry the film’s entire experience, creating the world we’re only peeking into.

The conclusion of RED ROOMS avoids tying things up nicely, instead offering a lingering disquiet that mirrors Kelly-Anne’s unresolved turmoil. This ambiguity amplifies the film's impact, encouraging audiences to reflect on the unsettling themes throughout the story.

RED ROOMS is an incisive critique of society's fascination with the macabre. It delves deep into the darkest corners of the human psyche, challenging viewers to reassess their views on crime and its portrayal. Directed by Pascal Plante, the film is more than just a psychological thriller; it’s a catalyst for conversation, resonating with viewers well beyond its runtime.

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[photo courtesy of UTOPIA, NEMESIS FILMS, ENTRACT FILMS, H264]

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