Become the story if you must, but be careful when doing so: in Dan Gilroy’s hit psychological thriller Nightcrawler, Jak e Gyllenhaal as the eponymous antihero of crime flick took the first part of this advice quite seriously. But perhaps not the latter. He went savage as end would a son, overshooting danger to be the first in record ing all the sordid crime scenes present in Los Angeles, if only too superficial to imagine and perhaps even planning into action more scenes that match or
consider fierce his gaze at what presented before him if he is just bored and does not wish to play orderly. Of late, the titular baddy, in the le francophone glory that is Red Rooms (Trans. Les chambres rouges), grows unexpectedly obsessed with the trial of the woman in the case who happens to be a very cruel psychopath and hints that maybe even she will take further steps, so that the jury will behave in the way she wants them to. Such possibilties one would think is wowed by the new and we dare assert out of the box treatment persuader that, feels one can come later, over hope, in the precise emergence of the legal genius, definitely out of Montreal is the thriller of Da Little Quarters Kabinaasang, Leaving you at the edge of your seat while having nowhere else to go know as the People Vs. The Pier.
This one, on the other hand, is much more hung up on the dark sites, psychotic killers and even more unpleasant things. Red Rooms makes certain that a wider audience will be catered for as most of those hard to watch things are kept out of plain sight. We rather feel amazed at the frightening journey of the main female lead wherein she finds her role to play in this modern world; contemporary that is extravagant as well as rough and criminal. Red Rooms is written and directed by Pascal Plante (Nadia, Butterfly) and constitutes another revisionist thanks perspective of the courtroom genre that stands out among the already jaded contemporaries.
Those completely unaware of the visual aspects of courtroom settings of the French Canadians and especially that of the Montreal city shall be taken by surprise and made to do double takes when Red Rooms gets going on. The public in America (and even some people in Europe) is generally accustomed to still other completely differing interiors within the confines of the very same system of justice. The blank walls of those red colored rooms are clad emulating a bone chilling utopian approach where the foremost lawyers start taking turns reciting their Debates with respect to the complicated and high profiled criminal dramatics of mr ludovic chevallier (Maxwell McCabe-Lokos) who stands accused of slaughtering three teenage girls, in rather disturbing ways. Two of the horrendous acts were recorded and afterwards distributed on the dark net – doesn’t this suggest that the third one is still available somewhere out there?
May be it is media-fodder questions like these that have made local supermodel Kelly-Anne (Juliette Gariépy) curiously attend every court proceeding from when she has track of it all to the point she is at.
As the trials aren’t broadcast on any medium, the local newspapers wait outside the courtroom and bombard her as well as the other participants, including the ardent Clementine (Laurie Babin), ‘How was the defendant today? What do you think now – hot or cold?’ at the end of each day. It is perhaps this that makes Kelly-Anne curious about the little talkative girl most who has come all the way here and now lives on the streets, as she has nowhere to sleep but keeps hanging around the courthouse because of Chevalier, whom Kelly-Anne intends to defend.
As time went on, Clementine and Kelly-Anne became friends, and with Kelly-Anne taking her under her wing, she even let Clementine inside her personal world a little bit. Why would you believe it, Kelly-Anne handles digits too, and when offline she plays online poker to earn more for her extravagant A.I. – controlled apartment. In thrilling detail, it turns out that ‘LadyOfShalott’ is Kelly-Anne’s username in poker games, which looks quite odd at first sight. Lady of Shalot also suffers from alienation- like Kelly Anne which is the lead character of the film. Certainly, there is Kelly-Anne, beautiful and having the pleasure of taking in the high life every so often, but what is rather unusual is the fact that she leads a very quiet life and works like a dog on the Chevalier case at hand. what goes on in that very calculating head of hers, is there more than meets the eye?
Even in such a case, the minutes increase in heightening gross negligence towards the trauma of the case and its victims’ relatives will only increase as the court proceedings wade on. Quite the contrary of the first admiration with which Kelly-Anne is introduced to, she is computer illiterate and her interest in the case makes her find one or two ways of becoming personally involved in the proceedings of the case (but not quite yet). This particular aspect of technology reveals itself in her first foray into the deep web and all of its associated depravity; depravity that is linked, in varying ways, to the case at hand.
As everyone knows, in such a goddamn world full of detectives of sorts, one where there is an increasing obsession with the true crime and the amateur investigation, it doesn’t come as a surprise that Kelly-Anne begins to lose her sane mind somewhere out of the goodness of her heart, that is, the desire to become absolutely fixated on Chevalier and the very horrible accusations towards him. The most common and harmless of these parallels act as a sort of cautionary tale to anyone who feels the siren call of the dark web approaching.
Certainly, by the end of the captivating third act, Kelly-Anne is taken to “dark” places which severed her professional relationships with her reputable employers as well as with her new friend Clementine. As Cobb said in the movie ‘Inception’, “an idea” could also be said to be “the most dangerous parasite” and indeed this is the case with Kelly-Anne because once she gets the thought that she can become a savior and stop a so-called serial killer, she doesn’t really calculate the risk that such a non-ordinary method could also bear its own risks. You be the judge, but there is no denying the fact that Red Rooms shall remain stuck on your bone despite how you feel towards the outcome in the work of Chevalier.
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