review
Les Chambres Rouges (Red Rooms)
Film Review: Les Chambres Rouges (Red Rooms) (2023) Directed by Pascal Plante | Starring Juliette Gariépy, Laurie Babin
Pascal Plante’s Les Chambres Rouges (Red Rooms)
is a haunting psychological thriller that delivers a deeply unsettling exploration of human obsession and morality, wrapped in impeccable craftsmanship. Anchored by a mesmerizing performance from Juliette Gariépy as Kelly-Anne, the film ventures into dark thematic territory, tackling the voyeuristic allure of internet snuff films. However, it does so with remarkable restraint, sidestepping gratuitous violence in favor of intense character-driven storytelling.
From the outset,
the film’s visual language is striking. The opening courtroom sequence is a masterclass in cinematography, with its deliberate framing and fluid camera movements immersing viewers in the tension of the trial. Plante’s direction is bolstered by exceptional sound design, which subtly amplifies the unease without resorting to overt shock tactics. The film’s atmosphere is thick with dread, yet it remains disturbingly quiet — a choice that proves far more chilling than any explicit gore could achieve.
Contrary to what its premise might suggest,
Les Chambres Rouges refuses to indulge in graphic displays of violence. While the subject matter revolves around the dark corners of the internet, the film keeps its horrors largely off-screen, focusing instead on the psychological ramifications of voyeurism and obsession. This artistic choice may leave gore enthusiasts unsatisfied, but it elevates the film beyond the trappings of “torture porn” and into more cerebral territory.
right: Juliette Gariépy (Kelly-Anne)
At its core,
the film is a character study — an unsettling dive into the psyche of Kelly-Anne, whose fixation on a notorious trial reveals more about her own fractured identity than the crimes being prosecuted. Laurie Babin’s portrayal of Clementine adds another layer of intrigue, creating a dynamic that feels both intimate and menacing.
While
the film’s deliberate pacing and introspective narrative may alienate those seeking visceral thrills, Les Chambres Rouges rewards viewers who appreciate psychological depth and auteur-driven filmmaking. It’s a gem of contemporary Canadian cinema, offering a chilling reflection on the boundaries of morality, media consumption, and human curiosity.
For those willing to embrace its slow-burn intensity, Les Chambres Rouges is a thought-provoking triumph. But it’s not for everyone — and it’s all the better for it.
For more information see the IMDb entry for Les Chambers Rouges.
Summary
A farm boy reluctantly becomes a member of the undead when a girl he meets turns out to be part of a band of vampires who roam the… — Horrortainment News
While Synapse FIlms’s announcement might be an April Fool’s prank, our review of Near Dark is not.
Kathryn Bigelow’s “Near Dark” is a masterclass in blending horror and action, creating a thrilling ride that will leave you breathless. This 1987 gem boasts outstanding performances from its talented cast, including Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton, and Jenette Goldstein.
The film’s pacing is expertly crafted, slowly building tension as our protagonist, Caleb, finds himself entangled in a world of modern-day vampires. The chemistry between the leads is undeniable, making their characters’ interactions all the more believable and unsettling. As the stakes rise (yeah, we went there), Bigelow’s direction ensures that the action scenes are both intense and well-choreographed.
What truly sets “Near Dark” apart, however, is its unique take on vampire lore. By stripping away traditional Gothic trappings, Bigelow creates a sense of realism that makes the horror all the more palpable. The vampires here are not romanticized or sympathetic; they’re brutal, animalistic, and terrifying.
With a gore level that’s “just right,” “Near Dark” is sure to satisfy fans of the genre without becoming gratuitous. Overall, this cult classic is a must-see for horror enthusiasts of all experience levels. So, buckle up and hit the open road with “Near Dark” – but be prepared for a wild and unforgettable ride.
Summary
A man and his son arrive at a rave lost in the mountains of Morocco. They are looking for Marina, their daughter and sister, who… — Horrortainment News
While Oliver Laxe’s Sirāt is not a horror film, it’s also not a film for the faint of heart—or the conventional horror fan. It’s an unsettling, immersive experience that defies genre expectations, blending dread with an experimental narrative style that will leave even seasoned viewers questioning what they’ve just witnessed. Set against the stark, unforgiving landscape of Morocco’s mountains, the story follows a father and son searching for his missing daughter amid a haze of rave culture and existential dread.
The film’s pacing is deliberately unhurried, allowing tension to build slowly but relentlessly. Laxe’s direction emphasizes atmosphere over plot, creating a sense of unease that lingers long after the credits roll. The cast, led by Sergi López, delivers performances that feel raw and authentic, grounding the surreal elements in human emotion.
While the film’s structure may alienate casual viewers, those willing to embrace its avant-garde approach will find themselves deeply moved. Sirāt is a film that demands patience and an open mind, rewarding viewers with a visceral, unforgettable experience that blurs the line between reality and nightmare.
A bold, unsettling journey—essential viewing for fans of experimental cinema.
Film Details
| Director | Oliver Laxe |
|---|---|
| Cast | Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou, Abdellilah Madrari, Mohamed Madrari |
| Runtime | 115 min |
| Rating | R |
| Country | Spain, France |
| Budget | $7,000,000 |
| Box Office | $10,445,082 |
| Where to Watch | JustWatch · IMDB |
Summary
The Woman in the Yard, directed by Jaume Collet-Serra, is a chilling psychological horror film that delves into themes of grief, depression, and emotional decay. The story follows Ramona, a grieving mother haunted by a mysterious veiled woman who symbolizes her internal anguish, as she struggles to protect her children and her sanity. Anchored by a powerful performance from Danielle Deadwyler, the film offers a deeply emotional and unsettling take on the horrors of the mind.
Jaume Collet-Serra directs The Woman in the Yard, a hauntingly dark look into the world of grief, guilt, depression, and suicide.
Ramona (Danielle Deadwyler) lies in bed watching a video on repeat of her deceased husband David (Russell Hornsby). Her teenage son Taylor (Peyton Jackson) interrupts her solemn solitude to inform her that there’s no electricity—which, to a 21st-century teen, spells doom.
Reluctantly, Ramona drags herself out of bed and is forced to confront a harsh reality: piles of unopened letters, little to no food, and a young daughter, Annie (Estella Kahiha), craving attention. Isolated in a farmhouse, with dead phones and a car that won’t start, things only get more unsettling when Ramona encounters the woman in the yard—a black-veiled entity (Okwui Okpokwasili) who cryptically tells her, “Today is the day.” Confused and frightened, Ramona watches as this mysterious figure begins inching closer and closer to the house, while tensions inside continue to boil. What follows is a harrowing fight for the lives of her children, her sanity, and her own survival.
The Woman in the Yard delves into grief and the darkest recesses of the mind with unsettling precision. It explores depression and the yearning for an end to suffering when hope feels lost. Beneath the surface of horror lies a deeper story—this is a film about the horror that lives inside us. The veiled woman is a physical manifestation of despair, creeping ever closer, feeding on pain, and extinguishing light.
Danielle Deadwyler is brilliant as Ramona. You feel the weight of her grief radiating off the screen—her dreams gone, her guilt consuming her, her frustration overflowing. She’s blind to the fact that her children are grieving too. Peyton Jackson delivers a strong, emotionally resonant performance as Taylor, a teen forced into the role of caretaker for his younger sister while their mother slips further away.
Director Jaume Collet-Serra (Orphan, The Shallows, House of Wax) does a phenomenal job bringing the essence of depression to life on screen. And Okwui Okpokwasili, as the mysterious woman, is the very definition of eerie.
Final Verdict
The Woman in the Yard carves its own path in the horror genre. It’s an exploration of the mental darkness we often try to ignore—raw, thought-provoking, and chilling. If you love horror with emotional depth, this one is a must-watch.
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