Title: Red Rooms
MPA Rating: Not Yet Rated
Director: Pascal Plante
Starring: Juliette Gariépy, Laurie Babin, Elisabeth Locas
Runtime: 1hr 58 mins

What It Is:  stunning model, Kelly-Anne (Gariépy), spends her nights sleeping on the street near the courthouse where Ludovic Chevalier (Maxwell McCabe-Lokos) stands trial for the sadistic murders of three teenage girls, whose deaths were broadcast on the dark web. Kelly-Anne is joined by Francine (Babin), a lonely young woman whose obsession with Chevalier and defense of his innocence draw them closer as the verdict of the trial approaches.

What We Think: A fresh, dark mystery-thriller for anyone with an affinity for the twisted and psychological. While there isn’t much splatter or gore, despite the film’s grim subject matter, it unfolds to reveal that the murders, though central to the plot, are not what the movie is truly about. Without giving too much away, I’ll focus on what makes this film so compelling. With clean, almost minimal execution and a tightly written script that reels you in, this thriller had me on the edge of my seat, constantly questioning everything and endlessly fascinated. It never relents—even in its quieter moments, it has you examining every detail, which is always a fantastic sign for me in a movie.

This film isn’t disturbing as much as it is disturbed—not violent, but visceral in the way it peels back the layers to reveal the strange, almost surreal reality that follows highly publicized serial killings. It’s nuanced and unlike anything I’ve experienced when watching films related to this genre. The performances are rich and rewarding, with Gariépy delivering a subtle, multi-layered portrayal of a seemingly successful yet isolated woman whose mysterious motivations drive the intensity. Babin’s portrayal of Clementine, with her insecure quirks yet big-hearted naivety, makes for an excellent counterbalance to Kelly-Anne. Throughout, we’re left wondering: who is innocent, and why are they doing this?

To clarify what I mean by ‘minimal’ film making—though not everyone’s cup of tea—this film is far from simple. In its story, characters, and presentation, it is deceptively dramatic. It doesn’t shy away from stylization, using a swelling score (reminiscent of May-December) and beautiful cinematography that at times feels swoony and at others coldly detached. The camera work is some of the most immersive I’ve seen, particularly in the courtroom scenes, while remaining withdrawn and static in quieter, often shocking moments.

In conclusion, the delivery—both behind and in front of the camera—is intelligently balanced, choreographed, and composed. This is a film unburdened by excess, allowing for full immersion into its descent into burning discomfort and revelation, while maintaining a surprisingly tactful amount of restraint. By avoiding graphic exploitation, it forces the audience to focus on how, why, and where acts of violence are exploited—even when they remain at the periphery.

Our Grade: A+, The twisted, enthralling, and intelligent thriller we’ve been waiting for and deserve. It needs to be seen. I won’t say this film requires anyone’s patience; if the right people watch it, they will undoubtedly be hypnotized and glued to the screen for every moment. This is a psycho-dramatic crime thriller for the books, on par with the works of David Fincher and Bong Joon-Ho. Hunt this one down if you can! Hopefully, it will appear on streaming platforms and in theaters soon, as it has a strong chance of making it onto my personal top ten list for the year.