Film Review - Red Rooms (2024)

Often the most unassuming amongst us are those who are actually harbouring the darkest of proclivities. Such is the case for the central character Kelly-Anne (Juliette Gariepy), a quiet and introverted fashion model, in crime thriller Red Rooms. Directed by Pascal Plante (Fake Tattoos 2017, Nadia, Butterfly 2020), the film follows Kelly-Anne as she attends the trial of Ludovic Chevalier (Maxwell McCabe-Lokos) who is accused of the rape, mutilation, and murders of three young women. Alongside committing these crimes, Chevalier is also accused of broadcasting the murders live via a ‘Red Room.’ But unlike the majority of the other people attending the courtroom each day, Kelly-Anne has no personal or professional connection to the case, rather she is simply obsessed with the murders. Fascinated by what has happened, she fantasises about elements of the case and soon finds herself on the dark web in order to get even closer to the victims and their families.

Opposite to Kelly-Anne, who remains eerily expressionless and for the most part unemotional throughout, is fellow serial killer groupie Clementine (Laurie Babin). Whilst Kelly-Anne doesn’t really speak properly to her obsession, merely replying that she was “curious” when asked why she is at the trial, teenage Clementine is convinced that Chevalier is innocent and being set up by an incompetent law force. When she is asked about her attendance at the trial, she loudly and passionately tells anyone who will listen about Chevalier’s innocence – attracting both the attention of the media and of the grieving families. Despite their different personas, the two women soon form a tentative bond over their macabre shared interests.

Films about serial killers are often chilling and they are often disturbing but Red Rooms is singularly unique in that it manages to be both those things whilst simultaneously being almost completely dispassionate and clinical – much like its lead character. The film is never gory and yet the murders that have taken place are awful and grisly. The film is never sad and yet the audience witnesses the raw grief of the families of the young women. Instead, this one feels less about the crimes at the centre and more about the rising popularity of true crime media and fascination with serial killers. Whilst the audience is able to feel disgust and dismay at the murders, somehow that disgust and dismay becomes concentrated instead on Kelly-Anne and Clementine. Why do people become obsessed with something so horrible and in particular the monsters that perpetrate such crimes?

Shot well throughout, it makes great use of sharp angles and muted colours, helping to keep that feeling of dispassion and uneasiness. Whilst Julia herself is cold and unlikely to win any fans, Gariepy is excellent at keeping strict control over her facial expressions keeping her character almost a complete enigma. Red Rooms isn’t a particularly fun watch and for some, the story and style may prove too alienating. However, for those who find themselves pulled in, this is an intriguing and chilling watch – albeit rather disturbing.