Red Rooms
Death is inescapable and a part of being human. Such an interest in darkness in Tavistock, and Americans in particular, always has to be rationalized and excuse it’s like Dame Elizabeth said, “the lady doth protest too much.” So it is nice that Pascal Plante’s heroine of the Quebecois techno thriller ‘The Red Rooms’ does not try to explain how attending the trial of the surreal killer she wants to kill is just a commonplace. There are quiet and hidden structures. And what really motivates this action will concern the audience all to the closing credits.
The slow squeeze from the centre of Severe Plante escalates this year’s or any year’s most incredible scene ever shot in which Kelly Anne (Juliette Gariépy) arrives one day in a Montreal court dressed as a victim aged just thirteen from a Ludovic Chevalier murder accusation. That is, she wears a classic schoolgirl outfit with a retainer in her mouth made from the 1950s. Kelly-Anne is the natural look alike of the child and it appears as if she gets turned on by the sight of Ludovic who is threw her out from the courtroom. And Ludovic says so does Kelly-Anne, with a smile. But the scream of the girl’s dying chorus now echoes in the background. The scene is disturbing and cinematography starts operatic at times to emphasize the feeling.
In some aspects, it does seem as though hyper intelligent hyper disciplined Kelly-Anne can easily be compared to Lisbeth Salander.
The woman is an introvert and high stakes online poker player living in a cold high rise apartment. Except for the occasional modeling for a jewelry company, there seems to be no people in her life. But she also is a hacker, one of the more curious parts of the film being sequences in which a person such as Kelly-Anne gets to networks and accounts which lead for example to a stranger being able to get inside the house of a deceased girl and take pictures in her bedroom. The distinction between Lisbeth and Kelly-Anne is in the fact that, so to speak, Kelly-Anne goes there, in ways that kills the morality of the audience, and the lows that no character in film has ever come close to.
Star refers to her character’s inner reality in these scenes too, although just barely. But this is again, the very thing which makes Red Rooms all that more appealing. Kelly-Anne, it will be recalled, is in the psychosexual demeaning context of Ludovic’s ‘groupies’ a deliberate or casual hybristophiliac, to give the professional term. In the course of the text, Plante, through the character of Clementine (Laurie Babin) encounters a more rural version of these women, who befriends Kelly Anne and is so obsessed he feels he has to save Ludovic.
And we most certainly require a disoriented and miserable Clementine because only through her can we understand how truly frozen and devoid of warmth Kelly-Anne is even should her account turn out to be a boring distraction from the sickening centerpiece.
A sizeable portion of ‘Red Rooms’ includes Gariépy’s face in close up as she calmly observes the events in the court as well as gory scenes from Ludovic’s case on the dark web while in her apartment, with Kelly-Anne who ‘researches’ the case. And because Gariépy’s performance is so restrained, it is possible to gain insight into what is happening, though the emotions, intentions and even the movements are small and few. She doesn’t look at the audience disapprovingly, but she also does not let them off the hook. And it is her cold and aloofness that creates a compelling point of view on a case that is utterly voyeuristic her emotionless expression and dull stare are perfect for fantasizing about snuff films, sadism, and an insatiable appetite for cruelty and depravity.
So does the filmmaking. The colors are grey and dull and the only sentiment is derived from the manic pounding of drums and the distortion of electric guitar in the score by dominique Plante.
As the courtroom scenes play out, the camera slowly turns around the room, coldly taking in the witnesses who have come to hear about the now-infamous ‘red rooms’ where Ludovic participated in torture and murder for the camera. Plante takes the nauseating artistic liberty of depicting the offers without showing them, opting instead for almost no visuals with red rooms and abrasively loud noises. This is the most effective way of narrating the story, as opposed to ”Red Rooms,” who tried to paint a macabre picture in the first place forcing the audience to connect the dots themselves.
In the end, “Red Rooms” does perform the task of providing a sense of relief to the viewing populace during its latter half this is not a tragedy, because otherwise, this movie would not appeal to the general population. The issue however is, the ten minutes towards the end not only serve as a form of relief rather than put down the fieriest aspects of the preceding forty minutes where Plante and Gariépy tried to affect the viewers through Kelly-Anne’s’s unsettling actions. Menschhirn, however does whip the viewers’ imaginations rather than tools. They do get props for being brave enough to get quite close to the very edge and still get inspired enough to take a few glances over the edge.
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