Popcorn Reviewss

White thumbnail popcorn reviewss
popcorn reviewss banner
White thumbnail popcorn reviewss

Red Rooms

Farhad Dalal
Farhad Dalal
4.5 Star popcorn reviewss


It is a Wednesday and in keeping up with my rendezvous with World Cinema this week, I decided to watch and review another French film titled Red Rooms. My decision was completely impulsive given that the film isn’t as popular as Anatomy Of A Fall across the board(Red Rooms being a Canadian film), neither is it nominated for the Academy Awards this year. But a quick look at its impressive Letterboxd score coupled with a premise featuring a serial killer had me sold, so much so that I was curious on what Red Rooms had to offer. And knowing little to nothing about what the film had to offer, actually helped me big time here, given that I wasn’t prepared for the staggering experience that the film had to offer. So then does Red Rooms manage to impress, let’s find out.

Story & Screenplay

Red Rooms follows the story of a protagonist, a model by profession who takes a keen interest in a case involving a serial killer on trial for murdering three school girls while telecasting their murder on the dark web. What is her motive of attending the trials? The story here is a psychological horror drama of the highest order given that there are layers and layers to the narrative, that form an ever growing sense of fear in the minds of the viewers without actually showing a single murder onscreen. And along the way, it deftly touches upon the aspects of the dark web which are quite frightening as well. The screenplay standing at a shade under 2 hours does make for a taut narrative that is so compelling that it will continue to haunt you, long after the film has ended. This segment will contain mild spoilers.

The drama opens with the introduction of the protagonist who is shown to walk casually past the security at a local court, while wishing to attend a trial underway. The accused is a serial killer having killed three young school girls while broadcasting their murders on the dark web in the ‘red rooms’. The catch being that the ‘snuff’ videos aren’t entirely conclusive while the video of the third girl is untraceable. There is a constant buildup with the court case that forms the opening premise of the drama with all the fingers being pointed at a single individual. Yet, the interesting part of the drama lies in the fascination of the protagonist to be involved in the case wherein she is virtually unrelated to either the victim or the accused. One look at here, and you can make out that something isn’t right with her, and the writers tap into this aspect of the drama.

The proceedings are thoroughly engaging and engrossing with the writers never switching the point of view of the drama. So you as a viewer are on the same footing as the characters in the film which never really is about the serial killer but an individual who is so twisted, that begin to fear the worst for her. The protagonist is shown to be a model while being a loner, and having an obsession for the dark web wherein she earns a few bucks while playing a card game online on the dark net. Her room is right behind the courtroom that would prompt her to quickly make it to the hearing, in a case which is almost as twisted as her. To give her company is Clementine, another young woman obsessed with the case but not as recluse as the protagonist. She sympathises with the accused while repeating an unsaid law of a person being innocent until charged as guilty. The two soon form an unlikely bond of friendship that doesn’t stand the test of time, forcing Clementine to part ways.

The fear in the drama is meticulously built in the mind of the user with the tapes of murders being heard with its share of screams and slashes that paints a haunting picture in the minds of the viewers. This is without actually showcasing the murder onscreen. This fear is palpable and so edgy that even the simplest of stares and glances from characters would potentially send a shiver down your spine. Yet, it is the third act that really elevates the film with the protagonist transforming into one of the victims in a stellar courtroom seen, thus having a strong resemblance that makes the prime accused smirk and react for the first time in the film.

From there-on, the film delves into the psychological aspect of the protagonist wherein the lines of reality and fantasy begin to blur, while entering the dark and startling world of the dark web. It is thrill a minute kind of a final act that completely embraces you will the horror while you are fascinated with the twisted character of the protagonist who may well have enjoyed watching the victims die a painful death, while also providing evidence to frame the accused. Her dual obsession of being party to the killer and the victim is something that will potentially leave you pondering, long after the film has ended. This was a screenplay writing masterclass given that it leaves you in a space that you would least expect!

Dialogues, Music & Direction

The dialogues are conversational but the lines do evoke a sense of fear that the drama keeps piling on, during its narrative. The BGM is outright scary, focusing on the screams and slashes while building undertones of horror, all of which collectively paint a haunting picture in your head. The cinematography coupled with the lighting filter is amazing to witness. Very early on in the drama, the blue filter with red objects highlighted sets the tone of the drama almost to ascertain the grimness of the proceedings with killings used as a backdrop(depicted by red). In a separate sequence, you do see a few natural colours seeping in during the blossoming relationship between the protagonist and her friend Clementine but completely gone dark with grey shades in the final act. This was great use of the colour grading that depicted the different moods of the drama perfectly. The editing is crisp and sharp right throughout the narrative. Director Pascal Plante does a magnificent job in delaying the inevitable while piling up the fear in the minds of the viewers from the very first scene. He does create intriguing moments which are memorable in many ways for which he deserves distinction marks. The direction was stupendous here!


The performances are top notch here. Maxwell McCabe-Lok as Chevalier is phenomenal even though he has no lines to play with. His stoic body language is intimidating and raw that could possibly give you nightmares even as you would find him quietly sitting on a chair. Laurie Babin as Clementine is wonderful to witness, being playful and naive yet very assertive in her judgement about an individual whom she thinks is falsely accused. There is purpose to her character in creating doubts in the minds of the viewers, and she balances her emotions really well. Juliette Gariepy as Kelly-Anne delivers a performance for the ages. She steadily raises the intensity in the psyche of her character that will completely take you aback in the final act. An unassuming streak to her character is evident but she masterfully plays around with it while constantly allowing the viewers to judge her own intentions. This was an acting masterclass, perhaps one of the best that I have witnessed this year! All other actors are good as well.


Red Rooms is a psychological horror worth a million nightmares in what was one of the finest films that I have watched this year. The drama is so unique and frightening that it will linger on long after the film has ended. Highly Highly Recommended! Enough said!

Latest Posts

error: Content is protected !!