![]() Not only has Kelly-Anne seen them already, but she also has them on a flashdrive. ![]() 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. Treasures screenings are always free and open to the public.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. Treasures from the Yale Film Archive is an ongoing series of classic and contemporary films in 35mm curated by the Yale Film Study Center and screened at the Whitney Humanities Center. What is Treasures from the Yale Film Archive? Michael Wilmington of the Chicago Tribune called it "one of the most curious and perversely brilliant films ever made," while Jack Matthews of the Los Angeles Times decribed it as "a haunting, scattered reminiscence piece, where the mind is allowed to drift through its memories, and retrieve impressions of the beautiful and the hideous, the serene and the hysterical, the banal and the profound." 35mm print from the Yale Film Archive. Nominated for seven Academy Awards, the film stars Sean Penn, Adrien Brody, Jim Caviezel, Ben Chaplin, George Clooney, John Cusack, Woody Harrelson, Elias Koteas, Nick Nolte, John C. Join us for a 20th anniversary screening of Terrence Malick's World War II epic The Thin Red Line.
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