Throughout the first hour, it is clear that something is not right about the Chevalier case newspaper articles talk of “a missing piece” to the puzzle, and the elusive third video has taken on mythological status online. But why? This, not the motivations of the clearly unhinged killer, whoever it turns out to be, is the core of this grimly imaginative thriller. Kelly-Anne, however, continues to appear in the courtroom. Clementine begs to watch them, and when she does, the cruelty of what she sees causes her to re-evaluate her life choices and go home. Not only has Kelly-Anne seen them already, but she also has them on a flashdrive.
#Film red line trial
On her second day at the trial, Kelly-Anne meets Clémentine (Laurie Babin), a murder groupie who has fallen in love with Chevalier, claiming the videos were faked and that the trial is “a big show.” The two become unlikely allies, but the power-balance of their friendship is unsettled when the courtroom is closed while the two existing “snuff” videos are shown to the court. The chief flaw in the prosecution’s argument, they add, is that no suspicious amounts of money have passed through his account, and he has shown no signs of living beyond his means.ĭespite the overwhelming amount of circumstantial evidence, not everyone is convinced of Chevalier’s guilt. The case rests on two graphic half-hour videos, since the third cannot be found, but Chevalier’s defense team claim that he is a wronged man, “a model citizen” who has never been in trouble with the law in all his 39 years on earth. The prosecuting attorney’s opening address lays out the stark brutality of the case, with the emotionless Chevalier, confined to a Perspex case, watching from the sidelines. ‘Blaga’s Lessons’ Review: Brutal Drama Packs A Provocative Punch – Karlovy Vary Int’l Film Festival Giving Chevalier his notoriety is the nature of his crimes: the victims were sadistically tortured before they were killed, and for the benefit of a paying audience who watched it happen, live, on the dark web. On trial is Ludovic Chevalier (Maxwell McCabe-Lokos), aka The Demon of Rosemont, who is accused of the brutal murders of three young girls between the ages of 13 and 16. Inside, the frame becomes alive with color as Kelly-Anne passes through security and takes her seat in a bright, white, fluorescent-lit courtroom. As the crimson opening credits roll over Vincent Biron’s stark, steely blue lensing, a young woman named Kelly-Anne (Juliette Gariépy) wakes up and takes a bus to a tall, sterile building. Much of the plot has already happened by the time the film starts. It’s strong meat for sure (the courtroom-drama framing is deceptive, since this is not really a film about justice), but word-of-mouth cult status beckons and a healthy nightlife on the genre circuit is assured.
#Film red line movie
The unseen and the obscene are the subject of Pascal Plante’s disturbingly brilliant psychological horror Red Rooms, which takes an overused genre - the serial killer movie - and an often-misused technique - dark Lynchian surrealism - and somehow alchemizes the two into something new and original.
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