There is an unnecessary peace that leaks through the French-Canadian psychological thriller of the Pascal plant, presenting it unmistakable. The camera is too long; The silence is inconveniently spread; The dreaded metastasis. A fashion model, the story of Kelly-Annie’s plant, was consumed by her passion for the murder of Ludovic Shellier, a person accused of broadcasting Snow films on the dark web, a study in both magnetism and rot of True-Crime Fixation.
The title ‘Red Room’, as whispering in the most mercury corners of internet, is clearly hidden within the dark web for live-stream torture and murder sessions-a place where the most disorganized human impulses are said to reveal to the audience ready to pay in cryptocurrency. Although the existence of such rooms has never been decisively proven, the myth continues, fuel from our collective fear of ignoring the internet. Pelvic Red room Tap in this sick legend, we want to criticize us in the same sick visualism.
Still from ‘Red Room’. Photo Credit: Instagram/ @Shambresrouges
Filmmaker and her leading actress, Juliet Garipi, sat down to unpack the demonic heart Red room In conversation HinduMental damage to the “Sadistic” filmmaking processes, harassing our culture’s violence, and mental damage to consuming too much true crime.
An exercise in an exercise
Pascal first admits that the film has been felt “tragic”. “I think if you want to make an anxiety-motivation film, the film will have to feel unexpected and dangerous,” he says.
Red room Shows all those who share in their journey and provide no easy facilities of the contingent. Kelly-Annie works inexplicable in search of truth, and the direction of Plante forces us in its perspective. “The most difficult part for me was research and writing,” Pascal believes. “I talked to the advisors who work in cyber criminity, people who see terrible things every day. I did not need to see anything directly, but whatever is there was very disappointing. ,
Building Kelly-Annie
Kelly-Any is a cipher. We know that she is a model, a gambler, a hacker, but her internalism is a zero. It is almost foreign physicality of Juliet that makes it so attractive. He is methodically, controlled and terrible. So how does someone prepare a character with a backstory?
Trick, it seems, is not ready at all. Pascal and Juliet agreed quickly to not excess in the psychology of Kelly-Any. “We didn’t really talk about her backstory,” the plant says. “I did not force anything on Juliet. It was all physical. Peace – This was important. And peace is an option, you know? It is really difficult to do so while expressing emotions. ,
Look at a rear view ‘Red Room’. Photo Credit: Instagram/ @Shambresrouges
Garipi welcomed ambiguity. “I think the characters have a tendency to extend more,” she says. “Like, ‘Oh, he was a distressed childhood” or’ Oh, he played a lot of video games as a child. ” But real life does not work in this way. We do not always detect our behavior for a unique trauma. Sometimes you just wake up with the need to do something, do something. ,
In his limited preparation, Pascal suggested some guiding touchstone. “We talked a little about witchcraft,” they say. “There is something about hacking that looks like a modern witch – to master these hidden equipment to manipulate the world. So I gave Juliet some films, some books, some music, but she was free to explain her, but she wanted. ,
Juliet also paid attention to Kelly-Any’s love for Poker. She says, “About Poker’s control, about reading people, and that part did not make her almost human or almost supernatural,” she says. “It is the same with squash – playing his game was a small moment of a little intimacy that we use, so I bowed into that passionate, that addiction.” The pity for sensation, and clarity seems to run Kelly-Ai’s Makabre fixation.
How does hell feel?
The sound design of the film seems to be suffering from the depth of hell. Its most rigid sequences are fully created through some incredible ear pieces. Blood splatoring, humming a drilller, screaming a child’s petring – this is a bad dream.
With a background in the sound design, Pascal contacted this element with near-maschistic accuracy. During the offline editing phase, he initially put the audio together with horror films. Hostel To shape the frightening soundscape. But for the final sound, Pascal and his team opted to use the real teen voice actors of 13 and 14 years of age for the most intestinal moments of the film.
Still from ‘Red Room’. Photo Credit: Instagram/ @Shambresrouges
“Believe it or not, I am not really sad in real life, and so it was terrible to me to do so,” he said. However, the young actors loved it – screaming in the microphone and walking away with a smile. “I was relieved,” Pascal misses. “I really didn’t want the film to be painful for the people involved in it.” Nevertheless, they postponed the recording sessions as long as possible, the day they would have to physically physically physical sounds.
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Where practical gore effects often highlight their own artificiality, sound has a different effect – it loses itself in subconscious. “If I was looking at a gore image, my brain ‘How is this made?” Switch in “I think the film is an Ode for the power of sound. Even when we do not see anything, it is frightening.”
Morality of true crime
Red room The consumption of true crime is present in a cultural moment. Streaming platforms brainstorm about serial killers with an indifferent regularity. Social media sleeves consider as a puzzle to solve real -life killings. So what happens when society loses its ability to feel the magnitude of real violence?
Red room Considered with true crime comes in a cultural moment. Streaming platforms brainstorming serial killer documents with indifferent regularity of an assembly line, while social media sleels choose real -life killings like puzzle in Sunday’s paper. The line between sick curiosity and callus apathy becomes thin according to the day – so what happens when we have seen such a horror that we forget how to feel it?
Juliet reflected how the passion of society with serial killer and his “Genius Minds” often serves as a distorted assurance – such as recognizing himself as only a faulty friend, instead of a killer, provides a strange kind of moral comfort. “Perhaps this is because it assures us that we are good people because there are many worse people,” she says.
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Pascal expanded on it, designed it as a dangerous business. “Evil is like a lack of sympathy,” he notes. “We trade our sympathy for entertainment easily, and we have to make conscious efforts to bring back our humanity.”
“We are so horror witnesses every day that if I switched to my hypersensitivity and sympathy completely, I would break and cry. The stimuli has become so stable, so loud, and so wide that you have to close it almost to survive – just to work, ”is called Pascal. “It becomes an attempt to turn back on that sympathy, to join your humanity again. I think it also reflects what we consume, why we consume it, and how we connect with our surrounding world. ,
Red Rooms are set to debut at the Red Lawry Film Festival in Mumbai and Hyderabad from 21 to 23 March. Passes for the festival are available on Bookmyshow.
Published – March 12, 2025 11:48 am IST
