If this needs to be done, then be a part of the story, but be careful. Talking of the critics must mention that they saw something in Jake Gyllenhaal’s character in Dan Gilroy’s Nightcrawler which, in the beginning, amused them but eventually did not please them. By the very end, however, it seemed there were no more suitable boundaries, the only objective was to be the first there and capture all the dirt that there was in Los Angeles up to even re-creating the mayhem if what the camera sees is just not good enough.
It has been her experience previously with her TV director-skewing film works. A more recent example is the Red Rooms (Les chambres rouges), which features a protagonist who is a female anti-hero and is so captivated by a local trial about a brutal killer that she would possibly participate in the trial to manipulate the decision of the jury. Such tantalizing prospects, though, might be reserved for later in the uniquely and we should say possibly explosive new legal thriller from Montreal. Only later, for example, the case of one court hearing, which is worth watching and might win even the Oscar-winning film Anatomy of a Fall.
This one, however, clearly has more to do with the dark web, bloodied killings in serial form and other terrible things. Red Rooms guarantees broader audience acceptance since the most gruesome of the hard-to-view content is obscured. On the contrary, we follow in the painful steps of the central character, who desperately tries to find her identity in the modern world, sharp and glittering, but full of crime as well. Plante also writes and directs (Nadia, Butterfly) Red Rooms, an easily one of the best of the contemporary courtroom dramas preferring a progressive approach, even though that would come as an understatement.
Until Red Rooms starts, many people, possibly including those unfamiliar with the interior décor of the colonial-era French Canadian courts based in Montreal, may have noticed something unusual within. The use of population in the United States and some in the Europe should rather expect a completely different perspective. The stark white shades also create stark overtones as futuristic or inner sci-fi gloss including a tinge of posterior themes as lead group peers over open-ing the city’s high profile Ludovic Chevalier though Maxwell McCabe-Lokos, a lawyer charged for the diabolical murder of three teenage girls, she Cross et al auger inwardly unless. The genteel society of the media where profane movies are made, featuring people committing brutal acts even of a more sinister nature, makes the audience ask whether perhaps the third one will turn out to be the very one who is being spoken of here queda no santa?
Perhaps it is such seemingly irrelevant questions that the local supermodel Kelly-Anne (Juliette Gariépy) — present for every single court session from the very first — decided to try to answer.
The hearings are not broadcasted on television and therefore local journalists have set camp outside and pepper her and other participants including the highly dramatic Clementine (Laurie Babin) with questions once a day like: What was the defendant acting like today – only one day? At this point in time, do you believe him to be guilty or innocent? It is not surprising that Kelly-Anne finds it so fascinating the young beggar girl who came from so far away and seems to live in the streets right next to the courthouse just for a chance to hear what the people – Chevalier’s supporters – have to say, especially because Clementine is not afraid to speak in defense of Chevalier who, in her words, ‘is innocent’.
The two women become friends, with Kelly-Anne welcoming Clementine in and even sharing a bit of herself with Clementine. By the way, shocker, Kelly- Anne has an affinity for numbers too and spends her spare time playing poker online to earn extra cash for her luxurious A.I controlled condo. Actually, Kelly-Anne, who plays poker as an alternate activity, uses the username of LadyOfShalott that enunciated in the poem “The Lady of Shallot” in which the main character feels loneliness and isolation which akin to Kelly-Anne. Of course Kelly Anne is pretty and well off once in a while, however the quiet lifestyle and morbid obsession in Chevalier case has us all wondering what goes on behind that calculating facade of hers…
And daily goes by, the tension is heightened, as it is in any pleasurable criminal case. Looking at how the victims’ families have been put through the incessant trauma of having to endure the courtroom as the jury returns to give their verdict over and over again. Don’t forget Kelly-Anne is good with numbers, and good with technology. The more she gets closer to the case the more chances are there for her to take part in the case directly (not any spoilers even). This comes from her first using the dark internet and all the frightening stuff that comes with it, such as the traffic, or the other crimes in the case.
In an age where everyone is a detective, and all of us seem to have developed a liking for true crime and home investigations, it is not surprising that Kelly-Anne begins to part with the fragments of her sanity a little at a time just to indulge in the obsession that is Chevalier and his horrifying allegations. Red Rooms does well to attempt to prevent as well as give opportunity for those that may be tempted to play around with the dark web.
This does indeed take its toll on Kelly-Anne and forces her to “dark” areas just in time when the third act becomes really engrossing due to wider tensions’ rise, shattering her relations both with her once respected employers and her new friend Clementine. It is the idea as expressed by Dom Cobb in Inception that the major concern is also an idea ‘an idea’ – ‘is the most resilient parasite’ – and once Kelly-Anne has it in her mind that maybe she is in position to stop ‘the most brutal serial killer you can imagine’ she does not really think about the idea how that would dust off all other consequences. You be the judge, but Red Rooms will cling to you however you want to think of it after having read Chevalier whether you liked the outcome or not.
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