It made me question not just why I watch true crime, but why I even enjoy it at all.
Red Rooms will leave you questioning your own taste in entertainment, as there’s something about this movie that really lingers in that weird, uncomfortable space where curiosity meets guilt.
Plot Summary of Red Rooms (Spoiler-Free)
Red Rooms follows Kelly-Anne, a model who becomes obsessed with the trial of Ludovic Chevalier, nicknamed the “Demon of Rosemont.” Chevalier is accused of some truly horrifying crimes, crimes that were filmed and distributed online in what are called “red rooms.”
And these videos aren’t just evidence, they’re the very thing that fuels the media frenzy and public fascination, and Kelly-Anne isn’t alone in her obsession. The film also introduces Clémentine, another person following the case closely, though for different reasons.
While Kelly-Anne is drawn to the crimes themselves, Clémentine seems to be caught up in the idea that Chevalier could be innocent, and both women represent different sides of the same disturbing curiosity.
Much of the story takes place around the trial itself, with courtroom scenes that force the characters, and by extension the audience, to confront what it means to watch and consume violence.
There’s a lot of focus on the psychological aspects of obsession, both with the case and the technology that made these crimes accessible to the public, like the dark web and “red rooms.”
But beyond the crime, the movie also asks questions about isolation, technology, and what it means to be disconnected from the real world while glued to tragedy.
Red Rooms Review: Is It Worth Watching?
Yes, it’s worth watching, but not in the way you might expect.
One of the first things that you will notice when watching Red Rooms is how cold and calculated the film feels, and I mean that in a good way. The Canadian mornings, the empty streets, the courthouse, it all feels crisp and sterile, like the movie wants you to feel alone with your thoughts, like Kelly-Anne does.
I found myself really noticing how she interacts with her AI home system, which is simultaneously funny and sad that she’s more comfortable talking to a machine than a human, and it really drives home how isolated and obsessed she’s become.
Red Rooms is certainly not a movie that holds your hand, and you can’t hide behind “it’s just a thriller” or “it’s fictional,” either, as the way it shows the court proceedings and media frenzy around Chevalier’s case forces you to ask yourself why people are so fascinated by tragedy.
And that’s the brilliance of it, as it’s like a psychological mirror being held up to the audience, and it’s incredibly unnerving.
The performances are very solid across the board, too. Juliette Gariépy as Kelly-Anne nails the detached obsession that makes the character both creepy and fascinating, and Maxwell McCabe Lokos, as Chevalier, doesn’t have a ton of screen time, but when he’s on camera, you feel his presence.
And Laurie Babin as Clémentine provides a nice contrast, with her misplaced idealism about Chevalier’s innocence, which makes her obsession feel more human, as even every killer has people who think they are innocent, and sometimes are of course.
The film also looks great. Vincent Biron’s cinematography captures the chilly Canadian mornings superbly, which made me want to step into the streets and just feel that cold air myself.
And while the courthouse scenes are plain, almost somewhat boring on purpose, it only makes the the other grim content even more striking, as there’s a deliberate emptiness here that mirrors the emotional distance of the characters.
But while I loved the style and the performances, I have to admit the pacing dragged in a few spots. The courtroom scenes are fascinating at first, but at times, they felt like they were testing my patience, not in a bad way, exactly, but you do need to be in the mood for slow-burn tension when watching this one.
The psychological aspect is where Red Rooms really shines though, as it forces you to think about why we watch violence, and what that obsession says about us. Kelly-Anne is obsessed with the acts themselves, Clémentine is obsessed with Chevalier as a person, and both are morally questionable in their own ways.
You are left to ask, which is worse? But the movie doesn’t give you an answer, and that’s exactly the point. You leave with that little itch in your brain, wondering how complicit you are in your own fascination with true crime.
The film also dives into technology, and you really see and understand how technology can isolate people like Kelly-Anne and simultaneously destroy the lives of people connected to the crime, and it’s unsettling in a very modern, and very real way.
What I found most interesting though is how meta the film feels, as you can easily picture Kelly-Anne and Clémentine sitting on a couch at home, watching Netflix true crime documentaries, eating snacks, and judging the subjects of these shows, just like we do.
Red Rooms is a film that points a finger at us, the audience, and makes us ask why we’re entertained by tragedy, and while it’s uncomfortable, it’s also very necessary..
It’s smart, unsettling, and doesn’t give easy answers. It gives you this weird mix of fascination, guilt, and admiration for a movie that manages to make you question why we even watch true crime at all.
What I liked (And What I Didn’t Like)
Pros
Performances
Juliette Gariépy is brilliant as Kelly-Anne, Laurie Babin adds brilliant depth as Clémentine, and Maxwell McCabe Lokos is chilling as Chevalier.
Atmosphere
The cold Canadian mornings and empty courthouse perfectly reflect the emotional distance of the characters.
Psychological Depth
The film makes you think about obsession, voyeurism, and the human fascination with violence.
Cinematography
Vincent Biron’s visuals are clean, crisp, and striking, especially the courthouse shots.
Moral Challenge
It challenges you to consider why we consume tragedy and how that consumption affects us.
Meta Commentary
The film cleverly reflects our own habits of bingeing true crime on streaming platforms.
Tension
Despite some pacing issues, the slow-burn tension works pretty well overall..
Cons
Slow Pacing
Some courtroom scenes drag a bit and might test patience for casual viewers.
On-the-Nose Dialogue
Occasionally, characters say exactly what the movie is trying to express, rather than naturally speaking.
Limited Screen Time for Chevalier
Lokos’ character is interesting, but we don’t see enough of him to fully explore his presence.
Not for Casual Viewers
This isn’t a casual movie, as it demands your attention and emotional investment.
Who might like Red Rooms
- Fans of psychological thrillers
- True crime enthusiasts
- People who enjoy morally complex characters
- Fans of slow-burn tension
- Those who appreciate striking cinematography
- Anyone who likes movies that make them think
- People who don’t mind feeling uncomfortable
Who might dislike Red Rooms
- Casual viewers looking for light entertainment
- Those sensitive to graphic crime content
- People who dislike slow pacing
- Viewers who want clear answers or resolutions
- Anyone expecting traditional thrills or jump scares
- Those put off by emotional coldness
Final Verdict: Did I Enjoy Watching Red Rooms?
Yep, Red Rooms is a brilliant film, and after I had finished watching it, my brain was buzzing about human obsession, the ethics of true crime, and my own complicity in finding tragedy entertaining.
It isn’t an easy watch, but that’s exactly why I loved it, as it makes you confront curiosity that you might usually ignore, and to think critically about why stories like this fascinate us.
It’s a provocation, and a psychological experiment all wrapped up in a thriller.
And for me, that made it a movie I won’t forget anytime soon.
8.5/10
Red Rooms Trailer
Simon Leasher
A lover of cinema for over 35 years, I have watched many films from around the world in many different genres, yet I still normally always come back to trashy slasher horror films when in doubt. More
And yes, The Godfather 2 is better than The Godfather.
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