红色房间

自开膛手杰克诞生以来，连环杀手毫无疑问是人们最为热衷的噩梦和谈资之一，同样这些嗜血的疯子也是影视剧的常客。《红色房间》作为一部2023年的连环杀手电影，导演帕斯卡尔·普朗特没有选择老一套的把镜头聚焦在杀手和受害者身上，而是用新时代互联网的角度，去关注这些杀人犯的粉丝团，去讲述一场自我毁灭的心理恐怖故事。

阴暗中，总会有些人被满足，它不仅仅存在，与每个人息息相关，那些不可告人，难以启齿的想法。留在心里，它是抽象的，需要用具象的事物承载，于是有了暗网，有了满足各种需求的交易，有了需求，就会有市场，有市场就会有罪行，有站在阴影里窥视的人。他们形形色色，不是所谓的相由心生，他们是谁？是男是女？有没有文化？离我们有多远？有的“眼睛里有一种忧思”，有的端庄典雅，根本没有人把阴暗和邪恶写在脸上。《红色房间》的优秀就是这样，那个瘦弱的秃顶男人，那么安静的坐在被告席上，他一句话都没说…控辩双方都用听上去有理的论据，而“他是不是那些令人发指虐杀案的缔造者”是本片最大的悬念。可是“悬念”并不是本片的重点。从头到尾，展现的是“那个群体”的心理变化，借着悬念的外壳，虽然并不知道，讲的是那个群体，某种意义上，主角是那个“恶魔”的代言。法庭上，控辩双方是两个阵营，生活中，“亚批”群体和公众又格格不如-她只是一个人，吃住行，职业，生活，她甚至没有恶习（人总得有点癖好…要说没有…没问题，你们都对）等等，她不与人往来，她用btc支付购买她的消遣，她和那个变态杀人者是一个群体，奉行一种规则。最后她选择正义的动机也是因为她害怕了，畏惧了，还有那个无家可归的女孩的的触动-她觉得她有责任让homeless girl看清现实。结尾虽然是众望所归，但也合情合理，但只是合乎电影和道德的礼，而现实中，暗网中大量的罪恶还在滋生，恐怖的事情依然会发生。因为欲望驱动，利益驱动。最后，今天btc的价格是：1btc=54,437 US Dollar，21.5btc成交，相当于117万，830万cny。

In Canadian filmmaker Pascal Plante's second feature RED ROOMS, Ludovic Chevalier (McCabe-Lokos) is the prime suspect of a high-profile serial murder case in Montreal. Three underage girls are kidnapped, sexually assaulted, then brutally murdered and dismembered in the basement by a masked man, who traffics the horrendous videos of his atrocity through the Dark Web.Such a grisly premise can effectively hinder viewership, but rest assured that Plante's film doesn't dwell on the macabre and sadism, nor it is a tedious courtroom procedural (the whole case is sketched in the prosecutor's opening statement and only one litigant is put on the witness stand). In fact, RED ROOMS opts for a perspective rather intriguing. Our protagonist is Kelly-Anne (Gariépy, a modish sylph covered with an icy, inscrutable patina), a print/photo model who is obsessed with the case. She sleeps rough outside the courthouse in the night to gain priority in the line next morning to attend the trial in person. Naturally, the hovering question is: what makes her tick? Does she have any relation with the prime suspect? Is she a victim of a similar offense? Or more disturbingly, is she a die-hard groupie of a murderous psychopath, and might be turned on by the inhuman cruelty, like those pervert buyers of the torture and murder nasties?Smartly, Plante keeps dangling audience with such possible occurrences from wire-to-wire and doesn’t settle for an easy solution. Meanwhile, he introduces a secondary character Clémentine (an elfish Babin, extraordinary with spontaneity and effusions) to demonstrate the divergence in terms of irrational obsession. Clémentine is a groupie of Ludovic, spurred by an idealistic notion that any suspect should be presumed innocent before a final verdict is reached, the media-inflamed skepticism, and the befuddling attraction towards Ludovic (who looks creepy as hell and whom McCabe-Lokos embodies with a slouching posture as if he gets bored in his own trial. With no lines to enunciate and seen only sitting inside a box, McCabe-Lokos makes the most of the moment where he bares his perversity with one single gesture when Kelly-Anne is dragged away for imitating one of the victims). After all, Clémentine is a more regular groupie, when atrocious veracity replays in front of her face, she is crushed and is sensible enough to close up shop. But for Kelly-Anne, this is not the case. She can stare at the atrocity without blinking and she has no preconception of Ludovic's culpability. She is more interested into the crime itself, even if it will cost her career and she must splash out all her Bitcoins to win a bid of a coveted video that eventually lays the case to rest. Kelly-Anne does exhibits some psychopathic traits (her avoidant personality, solitary existence, her initial repulsion of an over-enthusiastic Clémentine), yet, however begrudging, she is still kind enough to invite a homeless Clémentine to her apartment and tries to do right by her. The baseline is that she doesn't lose the judgment between right and wrong. Her obsession is not blind, she is not a groupie of Ludovic, but of morbidness and brutality, a type that is more radical and subversive. By way of Kelly-Anne deepening involvement, RED ROOMS also enmeshes audience into the"gazing into the abyss" process, prompting audience to question their own views on the dark, beyond-the-pale matters. Although RED ROOMS cannot convincingly rationalize Kelly-Anne's head space, it, at the very least, propounds an instructive assumption that not every obsession is pernicious, Kelly-Anne could become a quite intuitive amateur sleuth if she needs a new vocation. Fairly speaking, RED ROOMS makes for a fascinating viewing and kudos to Plante’s politic consideration and craft, including the mock cryptocurrency transactions and dark-net interfaces that put verisimilitude into close inspection. referential entries: Xavier Dolan's TOM AT THE FARM (2013, 8.1/10); David Cronenberg’s CRIMES OF THE FUTURE (2022, 5.9/10).