‘Red Rooms’ Review
Stars: Juliette Gariépy, Maxwell McCabe-Lokos, Laurie Babin, Elisabeth Locas, Natalie Tannous, Pierre Chagnon, Guy Thauvette | Written and Directed by Pascal Plante
Well… what the hell was that all about? I will say though this was a technically well-executed movie. So much so that you find yourself bafflingly transfixed to the screen, for the most part wondering what it is exactly you are viewing and why. Then it hit me, I’m not supposed to have all the facts, I’m not supposed to really know anything, this movie just wants me to sit quietly and feel something. A sort of morbid curiosity that says more about me the viewer than the subjects of the movie. Somehow this movie has asked me to look at a part of my psyche I rarely think about.
Director Pascal Plante has brought us a movie that not only grips but also disturbs, invoking a sense of unease that stays long after the credits roll. Red Rooms takes us on a deep dive into online voyeurism and the exploitation of human suffering as entertainment, mirroring real-life viewer’s fascinations with true crime docs, podcasts, and the typical glorified media coverage of violent criminals.
One of the film’s most impressive aspects is its layered “we are saying nothing” storytelling. As we begin Red Rooms it’s a courtroom drama centered around the trial of Ludovic Chevalier, a cold and eerie killer. But look further than that, the film is a psychological portrait of Kelly-Anne’s descent into obsession. Plante carefully intertwines her arc with the proceedings, showing how her fixation on the case becomes almost as dangerous as the crimes themselves. There’s a constant sense of sheer dread, as the film asks: at what point does her fascination with evil become complicity?
Talking of the movie’s execution, Red Rooms is as striking as it is unsettling. The use of saturated colours and dull lighting evokes a sense of suffocation in the courtroom not unlike the atmosphere of the red rooms themselves, where horror unfolds in secret and under the radar. The camera often lingers uncomfortably close to its subjects, drawing attention to their most vulnerable and raw moments. This visual style complements the film’s themes, making the audience feel trapped in Kelly-Anne’s increasingly claustrophobic world. Further enhanced by the fact that this movie is dialogue-heavy, yet in certain moments I could not tell you a single line spoken, this is the power of the tension built.
Moreover, the supporting cast does an excellent job of fleshing out this world. Ludovic Chevalier, played with chilling precision by Maxwell McCabe-Lokos, embodies the kind of detached, almost eerily calm presence that many real-life killers are known for, making his scenes all the more unnerving. The interactions between him and the legal team, the victims’ families, and even Kelly-Anne hint at deeper, unspoken horrors, giving the film huge amounts of slow-burn tension.
Where Red Rooms truly shines is in its ability to provoke introspection. The film doesn’t just tell a story of crime; in fact, we never see any of the crimes (yet for some reason I feel I could explain every vivid detail). That’s because it holds up a mirror to the audience. As viewers, we are made to question why we are so drawn to these stories of murder and mayhem. Why do we consume the darkest elements of human nature for entertainment? In the character of Kelly-Anne played exquisitely by Juliette Gariépy, Plante captures this perfectly: she is both horrified yet captivated by the killer, and by extension, so am I.
It’s slow pacing and methodical unfolding of events may frustrate viewers looking for more immediate thrills or action. It leans more into psychological tension and character study than traditional horror, which might leave some expecting more explicit violence or suspense feeling underwhelmed. Nonetheless, for those willing to engage with its subtleties, Red Rooms offers a rich and disturbing exploration of obsession, morality, and the human capacity for evil.
In the end, Red Rooms is less about the serial killer and more about the people surrounding the case—the ones drawn to his crimes, the victims left in the wake, and the ethical boundaries blurred by curiosity. It’s a haunting reminder of how easily the line between witness and participant can be crossed, especially in an age where real-life horrors are just a click away.
**** 4/5
Red Rooms is out now.
