On a wedding day, women are confined to the kitchen to prepare the meal while the men wait to be served. While men talk politics and sports, women talk about their condition. A teenager observes the gap between the sexes. Co-directed by two actresses, Paule Baillargeon and Frederique Collin, The Red Kitchen is the birth of the Quebec women's cinema. The birth of the film was difficult, and funding has been largely achieved through donations from friends and a benefit concert. This war of the sexes takes place in a demanding formal research, based on the improvisation of the actors, whose preparation took place over long sessions in the workshop. The end result mixes black humour, horror and a very expressive fantasy that gave rise to heated debates.
Frédérique Collin, Paule Baillargeon
Director
Michèle Mercure
The bride
Han Masson
Daybe
Catherine Brunelle
Darling
Marie Ouellet
Mireille
Monique Mercure
The mother
Valérie Déjoie
Estelle
Claude Maher
The groom
Gilles Renaud
The father
Guy Thauvette
Thibault Frenette
Raymond Cloutier
Patrice Quenneville
Jean-Pierre Saulnier
Armel
Overall, “Dark Fate” is a run-of-the-mill flick. Together, Reyes and Davis have excellent chemistry, but their characters’ story is nothing new, lacking surprise and deep emotion. During the middle points, the film drags considerably, and when the action hits, it feels consistently tight, eliminating the rhythm and fluidity of conflicts.
The sequel to the first film, A Second Chance: Rivals! talks about Maddy combating cyberbullying and racism.
This is a Spanish-speaking short film that contains English subtitles. The short film is produced in the United States.
The film blends reality and the supernatural world together, leaving the viewer unsure of what’s real and what’s merely a figment of Michael’s agitated imagination.
This current year, as well as the past several, has seen a slowly building increase in something the horror genre has required for quite a while in this critic's opinion...originality. I've stated before that I am very hard to please when it comes to this vein of the film industry's offerings, always leaning more towards that which sends chills through my very being in lieu of buckets of blood and gore.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.