Vincent is usually a well-respected cop, as well as a passionate husband and father. But below the floor of his idyllic living, Vincent is involved that has a very dangerous group connected with gangsters and drug sellers. When Vincent and the partner are caught stealing a massive 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 resistant to 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 battle. We learn that the cops are intending to keep the stash for themselves, but when mob boss/nightclub operator Marciano (Serge Riaboukine) catches wind from the double-cross, he kidnaps Vincent's son Thomas (Samy Seghir). The ensuing race against time for it to rescue his child, which ends up involving other cops on the force (among these individuals the lovely Lizzie Brocher? as Vignali) develops almost entirely within the bowels of the nightclub.
A single-location film is often a feat unto itself, but Jardin makes a pair of incredibly smart decisions: First, he treats the location as being a character, introducing us to it's various components – again 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 ranking, the duality of blown-out and shadowed lighting, handheld camera techniques and cramped set pieces in order to mount the building tension which has a sense of disquieting claustrophobia. The director was thus intent on authenticity when it came to 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 set up within it. No Hollywood tricks are utilized here, and it makes the many 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 when driving during a high-speed follow, Sisley is giving 110 percentage. 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 for your heels.
Sleepless Night is a type of thoroughly satisfying, endlessly entertaining and entirely adrenaline-inducing films that grips on and not lets go. There are echoes of 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 example 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 the radar: Jardin's version of Sleepless Night may be the original, and an instant vintage.
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