Vincent is a well-respected cop, as well as a passionate husband and father. But below the floor of his idyllic lifestyle, Vincent is involved that has a very dangerous group connected with gangsters and drug sellers. When Vincent and the partner are caught stealing an enormous quantity of cocaine from the powerful drug lord, the darker side associated with Vincent's life threatens to be able to destroy his family and also career. In a race up against the clock, Vincent must return the drugs to save his son's life.
Jardin wastes no time easing to the action, as the movie unwraps on police partners Vincent (Sisley) along with Manuel (Laurent Stocker) intercepting any cocaine hand-off in what becomes a car chase and bullet-laden have difficulty. We learn that the cops are intending to keep the stash for themselves, but when mob boss/nightclub operator Marciano (Serge Riaboukine) catches wind with the double-cross, he kidnaps Vincent's boy Thomas (Samy Seghir). The ensuing race against the perfect time to rescue his child, which ends up involving other cops from the force (among them the lovely Lizzie Brocher? as Vignali) takes place almost entirely within the bowels of the nightclub.
A single-location film is usually a feat unto itself, but Jardin makes a pair of incredibly smart decisions: First, he treats the location to be a character, introducing us to the various components – rear rooms, kitchens, walk-in freezers, overhead crawl spaces, bathrooms, pool halls, dance floors – and builds on the importance, eventually involving them from the action. Second, he utilizes a shrill score, the duality of blown-out and shadowed lighting, handheld camera techniques and cramped set pieces to be able to mount the building tension which has a sense of disquieting claustrophobia. The director was thus intent on authenticity when it found a feeling of suffocation that she refused to open in place walls or build special set pieces for that camera to fit in; every location is authentic, and every shot is placed up within it. No Hollywood tricks are used here, and it makes each of the difference.
In addition to Jardin's deft work behind the camera, Sisley's devotion to his role – the two emotional and physical advancement of his character – is palpable. Whether he's breaking down in the stairwell, beating a man in the back room or behind the wheel during a high-speed follow, Sisley is giving 110 percent. Plus, he does his individual choreography and stunts. Watch your backs, Bruce Willis, Tom Cruise, Matt Damon, Denzel Washington, Daniel Craig and Corp. – this guy may be the truth, and he's nipping pictures heels.
Sleepless Night is one of those thoroughly satisfying, endlessly entertaining and entirely adrenaline-inducing films that grips on and not lets go. There are echoes associated with Hitchcock films, The Raid, Die Hard and Travel within its frames (although Jardin would tell you he was primarily inspired by South Korean cinema for instance Oldboy), but it does by itself justice by proving to become fully developed standalone section of cinema. Don't wait for the remake to put this one on your current radar: Jardin's version of Sleepless Night may be the original, and an instant vintage.
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