Red Rooms (2023)

2025-042 / MLZ MAP: 67.95

Wikipedia IMDb / Official Trailer / Rented on Amazon Prime

IMDb Summary: A model becomes obsessed with a high-profile murder trial.

Starring Juliette Gariépy, Laurie Babin, Elisabeth Locas, Maxwell McCabe-Lokos, Natalie Tannous, Pierre Chagnon and Guy Thauvette

NOTE: Major spoilers below. If you plan to watch this film but have not done so yet, you have been warned.

This film was recommended by a friend, someone who knows I have been a true crime aficionado for many years. As discussed in our recent write-up of The House that Jack Built, my focus tends to be on the forensic science, arrest, and proper trial of the accused. I have never thought I could understand the why of the situation. The advancement of forensic science and justice for the harmed, or at least for their families, is what I have always concentrated on.

While the true crime podcasts and media I have enjoyed are respectful, sometimes you are nonetheless brought to a point of self-examination when the media you consume causes a long and hard look in the mirror. I am not saying I will stop watching and listening, but I may be on a bit of a break.

OK but this is supposed to be about the movie, right? ((A note, not judging anyone else’s opinion on either of these films. We are purely talking about my enjoyment, which is why I presented so much about me personally, and how I came to my MAP scores.))

Kelly-Anne, a young woman who I believe is in her early 20’s, is just one of the people who are fascinated with the trial of Ludovic Chevalier, an accused serial killer who was arrested for killing three young girls, from 13-16 years of age. She is attending the trial and meets another girl, Clementine, who is around the same age, maybe a bit younger.

Kelly-Anne is a successful, beautiful model with a talent for poker. She enjoys spending time on the dark web and is quite good with technology as well. She does not express much, if any, emotion. She is an observer. Clementine is the opposite in every way. Her emotions rule her, including her strong belief in Chevalier’s innocence. She is a wild card.

However, as their friendship and the trial both continue, Clementine realizes she needs to step away. Kelly-Anne continues on a path of total self-destruction before our eyes. At one point she even dresses as the third victim Camille (to whom she bears a striking resemblance) and puts in a retainer and blue contacts while in the courtroom in front of Camille’s mother. The killer waves as she is removed by security, his only sign or acknowledgment of anyone through the whole film.

I will say that the lack of blood and guts, and scenes of death and torture, are the best part of this film. I feel like just seeing the reflected red of the room and hearing the sounds was more than enough.

Pascal Plante examines the mental illness of Kelly-Anne, the incredible pain the families are experiencing, and people’s appetites for true crime in a particularly effective way.

Perhaps it is because of the focus. Plante examines the obsession around serial killers. We learn nothing about the killer. The focus determines, for me, (even with the awful subject matter) a score of nearly 68. This film was very nearly an enjoyable watch. (Keeping in mind that 75 is the mid-range for an enjoyable film on the MAP scale.)

The shots of the clean and clear windows of Kelly-Anne’s high rise building feel “safe” and yet she delves into the filth and criminality of the dark web. This is why, I think, she is just as comfortable sleeping in a dark alley surrounded by trash cans to wait in line for seats in the trial. We saw the dark and unsafe streets of Quebec, yet she is never touched by any of it.

So today was I Kelly-Anne, who loses it all and we are left to wonder what happens to her, or was I Clementine, who realizes the error of her ways, and yet is found in front of a camera enjoying her fame? Perhaps neither. Perhaps both, a little. One is at least honest in her pursuits.

Kelly-Anne spends over $400k (21.5 BC I believe was the final price) to purchase the film of the murder of the third victim. She then breaks into the victim’s mother’s home to deliver it, along with financial evidence of the defendant’s guilt. But not until she takes a selfie in the little girl’s bedroom.

While nothing implies this, my opinion is that Kelly-Anne’s life ends shortly after. Whatever she had that kept her safe is gone. We even see someone outside her building who is obviously watching her (someone from the dark web or authorities, we never find out) She’s just as finished as The Demon of Rosemont after submitting his guilty plea.

So, I will continue on my break from true crime for a bit. An attempt to focus more on things like trees, sky, and butterflies might be a good thing for all of us right now. The world is a scary as fuck kind of place. No need to cover myself in darkness.

We used to offer The Care Bears DVD to Little Miss Zedd when she was creeped out by something. I feel like I need to watch it myself about 34 times. Maybe I’ll Movie On to something a little lighter myself.