{"id":992497,"date":"2026-01-08T01:56:30","date_gmt":"2026-01-08T01:56:30","guid":{"rendered":"https:\/\/www.polygon.com\/?p=460518"},"modified":"2026-01-08T01:56:30","modified_gmt":"2026-01-08T01:56:30","slug":"red-rooms-director-on-his-skin-crawling-serial-killer-technothriller-im-going-hard-on-you","status":"publish","type":"post","link":"https:\/\/arcader.org\/news\/red-rooms-director-on-his-skin-crawling-serial-killer-technothriller-im-going-hard-on-you\/","title":{"rendered":"Red Rooms director on his skin-crawling serial-killer technothriller: \u2018I\u2019m going hard on you\u2019"},"content":{"rendered":"<figure> <img decoding=\"async\" alt=\"Two women stare at a computer screen, lit by the red glow, in Red Rooms\" data-caption=\"\" data-portal-copyright=\"Photo: Utopia\" data-has-syndication-rights=\"1\" src=\"https:\/\/arcader.org\/wp-content\/uploads\/2024\/10\/red-rooms-director-on-his-skin-crawling-serial-killer-technothriller-im-going-hard-on-you.jpg\" \/><figcaption><\/figcaption><\/figure>\n<p class=\"has-drop-cap has-text-align-none\">Canadian filmmaker Pascal Plante was already dwelling on the eldritch terrors that lurked below the surface of the <a href=\"https:\/\/www.theverge.com\/2023\/5\/2\/23708094\/international-police-dark-web-monopoly-market-bust\">dark web<\/a> before the COVID-19 pandemic sent him into lockdown. But by 2021, his self-inflicted misery, combined with sitting at home for long stretches of time, resulted in the screenplay for <em><a href=\"https:\/\/www.polygon.com\/what-to-watch\/454161\/best-thrillers-movies-2024-watch\">Red Rooms<\/a><\/em>.&nbsp;<\/p>\n<p class=\"has-text-align-none\">A brilliant examination of parasocial voyeurism in our current true-crime content vortex, <em>Red Rooms<\/em> follows Kelly-Anne, a model who can\u2019t look away from a high-profile serial killer case. She attends the trial, glued to every update about the accused from the back row, as lawyers describe his livestreamed murders in gruesome detail. She returns home to Google every imaginable lead, and comes up for air to gamble crypto on online Texas Hold \u2019em. Occasionally, she books a photo shoot. Where her life \u2014 and Plante\u2019s film \u2014 goes is unexpected and creepy as hell.&nbsp;<\/p>\n<p class=\"has-text-align-none\"><em>Red Rooms<\/em> isn\u2019t an obvious selection for spooky-season viewing, but Plante is in total control as he veers from austere thriller to the kind of horror that would tickle Brian De Palma fans. <a href=\"https:\/\/www.polygon.com\/what-to-watch\/454161\/best-thrillers-movies-2024-watch\">It shook me to my core.<\/a> With the film out in theaters and rentable on digital platforms, Polygon spoke to Plante about how he went this dark \u2014 and entertaining \u2014 without going over the line.&nbsp;<\/p>\n<p class=\"has-text-align-none\"><em>This interview has been edited and condensed for clarity<\/em>.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<div>\n<div><iframe title=\"Red Rooms | Official Trailer | Utopia\" src=\"https:\/\/www.youtube.com\/embed\/VGZOwN1uK34?rel=0\" allowfullscreen allow=\"accelerometer; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share;\"><\/iframe><\/div>\n<\/div>\n<\/div>\n<\/figure>\n<p class=\"has-text-align-none\"><strong>Polygon: You\u2019ve been thinking about and working on this one for many years. How does it look to you now with some distance?<\/strong><\/p>\n<p class=\"has-text-align-none\"><strong>Pascal Plante: <\/strong>I\u2019m still happy that it has a conversation with whatever the current times are, because time moves fast, especially in a film that dabbles with technology. I actually had to flirt with sci-fi when I was writing. Let\u2019s say her AI, for instance \u2014 it\u2019s weird to say now, but ChatGPT was not around [in 2021]. And so for a technogeek film to be current, you need to think about how people use technology, what will make it relatable, even though maybe some of the things will get dated sooner or later. Everything about this movie technology-wise is going to be dated. But it gets you thinking a lot more about the tools, and human nature, and how humans interact with those tools. And that doesn\u2019t change, really.<\/p>\n<p class=\"has-text-align-none\"><strong>The movie was born out of the cult-like interest that can convene around murderers. How did you extrapolate that into a thriller that could work as a movie?<\/strong><\/p>\n<p class=\"has-text-align-none\">I have a documentarian tendency where I know we\u2019re making fiction and we\u2019re bending truth, and that\u2019s fine. But I value a lot of films that are able to depict niche subcultures in a relatable way, in a way where I\u2019m not just empirically exploiting and stealing from the folklore of a scene in order to make something completely fictional. I would love, in an ideal world, that the people that are knowledgeable about what I\u2019m trying to talk about and distill in an artistic vision, that they can be the one who endorse the film first, in a way.&nbsp;<\/p>\n<p class=\"has-text-align-none\"><strong>You want serial-killer obsessives to say: \u201cYou see me.\u201d<\/strong><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/arcader.org\/wp-content\/uploads\/2024\/10\/red-rooms-director-on-his-skin-crawling-serial-killer-technothriller-im-going-hard-on-you-1.jpg\" alt=\"A close-up on Kelly-Anne\u2019s eyes from Red Rooms\" title=\"A close-up on Kelly-Anne\u2019s eyes from Red Rooms\" data-has-syndication-rights=\"1\" data-caption=\"\" data-portal-copyright=\"Photo: Utopia\" \/><\/p>\n<p class=\"has-text-align-none\">I know you\u2019re making a joke, but we had one encounter after a Q&amp;A&nbsp;\u2014 a woman came up to me and the producer and said that she\u2019s herself a fan of killers, and she devotes so many hours a day to them, and all that. I\u2019m actually glad this happened, because it shows that I\u2019m not overly judgmental about the characters. I\u2019m trying to study the phenomenon, and the phenomenon is rooted in society. These behaviors are allowed and enabled by something macroscopic. That is what I\u2019m trying to get across.<\/p>\n<p class=\"has-text-align-none\">I\u2019m not trying to say that this is a crazy woman and she\u2019s evil and all that. It\u2019s way more than that. So just the fact that that person was comfortable enough to come and talk to us meant a lot. It just meant that I try to make valuable art that can engage in topical and harsh conversations. But no, I was more talking about people on the dark web who hang out on the internet. I wanted people permanently online to watch the film and be like, \u201cOh, [she\u2019s] one of us.\u201d<\/p>\n<p class=\"has-text-align-none\"><strong>It sounds like you did a great deal of research around the topics of serial killers and the dark web experience, but how did that cohere into the film? When and where does imagination fit in?&nbsp;<\/strong><\/p>\n<p class=\"has-text-align-none\">It has to become a movie at one point, because research can only get you so far. I\u2019m not doing a PhD. I\u2019m not devoting my life to it. I\u2019m devoting, like, a three-year cycle of my life. That was my obsession in that time frame. And at one point, yeah, I had to let the research go and start writing. The imagination has to take over. And it was much more of a safe space than the research part, because the research was rooted in something so grim and so depressing.<\/p>\n<p class=\"has-text-align-none\">Doing a genre film for a filmmaker in 2024 is actually amazing, because genre-film fans are very audacious. They want singular movies. They want films that challenge them. But that\u2019s very fun when you know that there\u2019s potentially an audience down the line who are willing to accept all the oddities of your creation, of your work. This pushes you to go bigger, bolder, more colorful, more expressionistic, go wild with music, go wild with sound design.<\/p>\n<p class=\"has-text-align-none\">This is when it becomes a movie. The film has kind of four stages of aesthetics: It starts almost super robotic, almost like VR, almost like a computer is in charge of the camerawork, because we\u2019re in the head of that character. [\u2026] Then it doubles more into a paranoid thriller, when she\u2019s being seen a bit more, and she<em> feels<\/em> like she\u2019s being seen. And we finish all the way in <a href=\"https:\/\/www.polygon.com\/22732575\/giallo-movies-explained\">giallo<\/a>, like with crazy filters and crazy colors, because now she\u2019s completely over, across the mirror. She\u2019s in her fantasy.<\/p>\n<p class=\"has-text-align-none\"><strong><em>Red Rooms<\/em><\/strong><strong> centers on a horrific series of murders, but we barely see any of it. This is not a gory movie. It is a gory<em>&#8211;<\/em><\/strong><strong><em>sounding<\/em><\/strong><strong> movie, between dialogue and off-screen videos. How far did you want to go with it?<\/strong><\/p>\n<p class=\"has-text-align-none\">That\u2019s also tied to the way I researched the film, because I always tiptoed around the subject matter \u2014&nbsp;I didn\u2019t want to see anything. I didn\u2019t want to go too deep in it. So I always had third parties telling me, like police reports or lawyers. So there\u2019s this distance.<\/p>\n<p class=\"has-text-align-none\">And yet, whenever you deal with something that is so striking to the imagination, your imagination goes wild. And so by tiptoeing around so many things, I kept just having my imagination go nuts and creating those images. So I tried to get that core idea into the finished film, which of course could appeal to all the senses. I felt like if you shut down one sense, then the others get hyperactive. We fill in the blanks and we dialogue with the film with our imagination.&nbsp;<\/p>\n<p class=\"has-text-align-none\">I kind of fell down the rabbit hole of YouTube, like creepypastas, and I\u2019m used to watching horror films. Whenever I watch a horror film, the comfort zone is easy for me. I know the codes more. It\u2019s very rare that a horror film gets me super anguished. But some creepypastas did, and some of them were very good storytellers. I felt I was onto something. I was going to draw back from the century-old tradition of campfire gloomy stories that just get you in a weird mood. And that\u2019s how the film will function \u2014 it\u2019s just going to put you in a weird mood, not necessarily by being extremely graphic, but graphic orally, just the details, the attention to just the storytelling, the slow burn, so it ends up being disturbing in its own right.<\/p>\n<p class=\"has-text-align-none\">And even the snuff-movie scene in the film, you don\u2019t see, but you hear \u2014 it\u2019s terrible. I\u2019m not going easy on you. I\u2019m going hard on you.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/arcader.org\/wp-content\/uploads\/2024\/10\/red-rooms-director-on-his-skin-crawling-serial-killer-technothriller-im-going-hard-on-you-2.jpg\" alt=\"Chevalier, a bald man with a death stare, looks into the camera in Red Rooms \" title=\"Chevalier, a bald man with a death stare, looks into the camera in Red Rooms \" data-has-syndication-rights=\"1\" data-caption=\"\" data-portal-copyright=\"Photo: Utopia\" \/><\/p>\n<p class=\"has-text-align-none\"><strong>The guy you got to play Chevalier, the accused killer on trial, plays perfectly into that. Maxwell McCabe-Lokos is silent the entire time, but absolutely terrifying.<\/strong><\/p>\n<p class=\"has-text-align-none\">I know! Especially since the film is around him, but he\u2019s not a subject character. He\u2019s an object character in the sense that he\u2019s being looked at. So I was actually shy to even engage with and approach some actors. I had wild ideas, because he\u2019s a non-speaking role, so he could be anyone \u2014 he could be a musician, he could be someone from the States, he could be someone from Europe.&nbsp;Anybody could be the killer. So it really got me thinking about what I wanted. I wanted someone who had charisma, but, to a certain extent, <a href=\"https:\/\/www.polygon.com\/2019\/1\/27\/18199887\/zac-efron-ted-bundy-movie-review-extremely-wicked-shockingly-evil-and-vile\">not a Zac Efron type<\/a>. I\u2019ve been very aware about the criticisms about so many true-crime films casting very good-looking, charismatic actors, or on the other side, having someone who is too \u201cmonstrous.\u201d I wanted someone in between.<\/p>\n<p class=\"has-text-align-none\">The in-between ended up being banal. But there was something specific I was looking for, which was the eyes. I wanted someone who had eyes that kind of looked like Peter Lorre, kind of big, blue, expressive eyes. And so Max \u2014&nbsp;my producer, Dominique Dussault, knew him, because he\u2019s a Canadian indie filmmaker doing very interesting stuff. He\u2019s an actor as well. He understands the artistic process. I was almost too shy to ask him, like, \u201cOh, Max, yeah, there\u2019s this role in the screenplay, it\u2019s nothing much\u2026\u201d<\/p>\n<p class=\"has-text-align-none\">But then the first meeting, he said, \u201cYeah, OK, but it\u2019s almost like there\u2019s a microscope on my face at all times? So basically, if I rub my hands or if I cough, people go nuts?\u201d And I said, \u201cYeah!\u201d So he right away understood the challenge, which is that every single thing he does generates meaning, he is scrutinized by the camera, the characters. And so it\u2019s actually pretty physical. He took it as an actor\u2019s challenge, which I underestimated. And he understood it right away.&nbsp;<\/p>\n<p class=\"has-text-align-none\"><strong>The anchor of the film is Juliette Gari\u00e9py, who was more of a model before doing the movie. How did you land on her to play Kelly-Anne, who is also a model?<\/strong><\/p>\n<p class=\"has-text-align-none\">I guess to narrow it down to one thing, it\u2019s sheer magnetism. The only way this film functions is if you as an audience look at her the way she looks at the killer. So you have to be like, OK, there\u2019s some danger lurking below, but you\u2019re not quite sure what it is. But you can&#8217;t look away. She has that sense of danger, but in a very photogenic and magnetic way.<\/p>\n<p class=\"has-text-align-none\">There\u2019s more than that. It\u2019s obviously a big role to do. It\u2019s very physical. She learned to play squash. She learned about cryptocurrency. She learned about so many things. I had her watch films, listen to playlists of music that I curated for her. It\u2019s a proper role. And not only that, but Juliette is <em>very<\/em> different than her character. She\u2019s very bubbly, very funny, very expressive. But there\u2019s something about her eyes\u2026 the craziness, like Klaus Kinski eyes. You\u2019re just like, <em>Oh my God<\/em>.<\/p>\n<p class=\"has-text-align-none\"><strong>There\u2019s quite a bit of difference between people who seek out snuff films on the dark web and viewers who love gory horror movies. But do you hope the film rattles people who are into dark stuff? Did it rattle you in terms of an appetite for violence in movies?<\/strong><\/p>\n<p class=\"has-text-align-none\">I think there are two things going on here. I find it way easier to watch a na\u00efve, exploitative, sometimes gory and tense movie. I can watch <em>Cannibal Holocaust<\/em>. I can watch <em>Hostel<\/em>. But cruel films, I have a harder time \u2014 though sometimes there\u2019s a fine line. There are filmmakers that create characters to crush them and dominate them. A good [Lars] von Trier was not like that, but the bad von Trier, they\u2019re unwatchable to me. The guy is too sadistic. He\u2019s too nihilistic. It\u2019s no fun in it at all.<\/p>\n<p class=\"has-text-align-none\">Having a head chopped off in a Tarantino movie with blood spurting is vastly different than psychological torment in a film. So there\u2019s a line, but I think the line is: It has to boil down to the filmmaker\u2019s view of the world. Are they just saying that everything sucks and that we\u2019re all going to die? Or is there something else? Is there a bit of light? And even though I just did, of course, a <em>dark<\/em> film, I try to have the characters have some kind of redemption. There is light at the end of this very dark tunnel, which is important, if only to get going to our daily lives. I don\u2019t crave happy endings, but give me some air!<\/p>\n<p><a href=\"https:\/\/www.polygon.com\/horror\/460518\/red-rooms-director-interview-serial-killer\">Source<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Canadian filmmaker Pascal Plante was already dwelling on the eldritch terrors that lurked below the surface of the dark web before the COVID-19 pandemic sent him into lockdown. But by 2021, his self-inflicted misery, combined with sitting at home for long stretches of time, resulted in the screenplay for Red Rooms.&nbsp; A brilliant examination of parasocial voyeurism in our current true-crime content vortex, Red Rooms follows Kelly-Anne, a model who can\u2019t look away from a high-profile serial killer case. She attends the trial, glued to every update about the accused from the back row, as lawyers describe his livestreamed murders in gruesome detail. She returns home to Google every imaginable lead, and comes up for air to gamble crypto on online Texas Hold \u2019em. Occasionally,&hellip;<\/p>\n<p class=\"excerpt-more\"><a class=\"blog-excerpt button\" href=\"https:\/\/arcader.org\/news\/red-rooms-director-on-his-skin-crawling-serial-killer-technothriller-im-going-hard-on-you\/\">Read More&#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":992498,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-992497","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-polygon"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Red Rooms director on his skin-crawling serial-killer technothriller: \u2018I\u2019m going hard on you\u2019 | Arcader News<\/title>\n<meta name=\"description\" content=\"Canadian filmmaker Pascal Plante was already dwelling on the eldritch terrors that lurked below the surface 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