The story, as best I can remember it from my stupor, is as follows:
Kelly-Anne is a mannish-looking Montreal fashion mannekin AND whizbang online poker player AND whizbang AI developer who programmed her own AI assistant named Guinevere who appears only to speak English even though Kelly-Anne is a native French speaker AND whizbang hacker who can break into any electronic device and steal any access code she wants and who appears to live a remarkably sterile, isolated life in a sterile luxury high-rise. Her only amusement appears to be an obsession with an ongoing, high-profile trial of a scrawny, pasty incel-looking geek named Ludovic Chevalier, who is accused of being the *Demon of Rosemont* (Rosemont being a Montreal borough), a serial killer who allegedly tortured and murdered three Aryan-looking teenage girls, and broadcast the mischief live in dark web *red rooms.* He picked these particular victims because, according to the script’s knowledge of the dark web, Aryan-looking girl snuff films earn more money.
Anyway and inexplicably, Kelly-Anne goes to extraordinary lengths to secure a seat at the courthouse every morning, going so far as to sleep in alleyways to maintain her place in line, though why she couldn’t just rise early in the morning and take a cab to the courthouse is never explained, even though at one point Kelly-Anne is asked this very question by a waifish Chevalier fangirl named Clémentine who, during the court proceedings, becomes acquainted with Kelly-Anne. For some reason, Kelly-Anne invites the emotionally volatile Clémentine to stay at her apartment for the duration of the trial. This subplot adds nothing to the movie other than a few boring scenes of Clémentine trying awkwardly to bond with Kelly-Anne.
Anyway, eventually the movie attempts to proceed to some sort of climax, with a distraught Clémentine lamenting missing what she believes is exonerating evidence, the two recovered snuff videos, which are shown in court only to jurors and family members, with gooners such as Clémentine and the passive onlooker Kelly-Anne having to vacate the courtroom. While waiting in the hallway, Kelly-Anne reveals that she has already obtained the horrific videos via the dark web. When they return to Kelly-Anne’s apartment she shows Clémentine the videos. As they view the footage, Kelly-Anne coldly points out that the masked killer shares Chevalier’s highly distinct blue eyes and unusual gait. For some reason, this flimsy *proof* shatters Clémentine’s delusions; now profoundly disturbed, she packs her belongings and flees back to her hometown, abandoning her obsession entirely.
Left to her own devices, Kelly-Anne’s behavior, which heretofore had been icily unemotional, for some reason spirals into an alarming realm. Her fixation pivots toward the third, unrecovered video—the murder of the youngest victim, a 13-year-old girl named Camille, while she also begins cyber-stalking Camille's grieving mother, Francine.
So, finally, after seeming cinematic hours of nothing much happening, on Chevalier’s birthday, Kelly-Anne orchestrates a shocking stunt: she attends the trial in a Copley Camille costume: blonde wig, blue colored contact lenses, and a replica school uniform. Though she is swiftly ejected from the courtroom by security, she achieves what one assumes is her desired effect. Chevalier, who has sat rigid and impassive for the entire trial, makes direct eye contact with Kelly-Anne and offers her a slight, knowing smile and wave. For some reason, this seems to have been Kelly-Anne’s desired outcome. Unsurprisingly, Kelly-Anne’s modeling agency is put-off by Kelly-Anne’s bizarre antics and promptly terminates her contract.
Having severed her ties to normal society, Kelly-Anne now focuses like a laser on acquiring Camille's missing snuff video, which is not really missing, because a miscreant is putting it up for a private dark web auction. Like all of the previous computer shit Kelly-Anne is supposed to be a genius at, the script demonstrates this computer genius stuff by showing the audience shots of Kelly-Anne staring at several computer monitors which are littered with incomprehensible computer code stuff while she keyboards unknown-to-the-audience commands which unlock or allow access or do computer stuff which Kelly-Anne wants. All this computer shit combined with some online poker allows Kelly-Anne to purchase the third snuff video, which, for some reason, has eluded law enforcement agencies, despite their months and months of investigation.
Anyway, after for some reason suspecting that her AI, Guinevere, might be monitoring her illicit activities, she meticulously destroys the hardware in a blender before viewing the snuff video. Her reaction to the video is entirely devoid of horror (as is the film); she appears merely satisfied, as if completing a complex puzzle.
In the film's limp climax, Kelly-Anne breaks into the home of Camille's mother. She slips into the deceased girl's bedroom, for some reason takes a few selfies in the school uniform, and then quietly leaves a flash drive containing the missing video on the mother's bedside table. The irrefutable evidence is subsequently turned over to the authorities, which, for some reason, forces Chevalier to change his plea to guilty.
The picture mercifully concludes by, I suppose, emphasizing Kelly-Anne’s chilling emotional void. She did not solve the case out of any sense of justice or empathy for the victims, but rather to test her own limits and satisfy a deeply narcissistic obsession. I guess.
<yawn.>
There is nothing remotely interesting about the film itself, which *runs* for one hour and fifty-eight minutes. . .a runtime that seems more like a three hour crawl.
I found myself for most of the film wondering if its *star,* a woman named Juliette Gariépy, was, in fact, really a woman. That’s one of the effects of living in an Age of Abundant Transsexualism, any mannish-looking woman, such as Juliette Gariépy, is immediately suspect of having a penis. This concludes our review.
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