Vincent is a well-respected cop, as well as a devoted husband and father. But below the surface of his idyllic living, Vincent is involved which has a very dangerous group involving gangsters and drug sellers. When Vincent and his partner are caught stealing a massive quantity of cocaine from your powerful drug lord, the darker side connected with Vincent's life threatens to destroy his family as well as career. In a race from the clock, Vincent must return the drugs to save lots of his son's life.
Jardin wastes no time easing to the action, as the movie starts up on police partners Vincent (Sisley) along with Manuel (Laurent Stocker) intercepting the cocaine hand-off in what becomes an automobile chase and bullet-laden wrestle. We learn that the cops are planning to keep the stash regarding themselves, but when mob boss/nightclub owner Marciano (Serge Riaboukine) catches wind in the double-cross, he kidnaps Vincent's daughter Thomas (Samy Seghir). The ensuing race against time and energy to rescue his child, which ends up involving other cops on the force (among them the lovely Lizzie Brocher? as Vignali) takes place almost entirely within the bowels with the nightclub.
A single-location film is a feat unto itself, but Jardin makes a couple of incredibly smart decisions: First, he treats the location like a character, introducing us to the various components – again rooms, kitchens, walk-in freezers, overhead crawl spaces, bathrooms, pool halls, dance floors – and builds on their importance, eventually involving them inside action. Second, he utilizes a shrill score, the duality of blown-out as well as shadowed lighting, handheld camera techniques and very cramped set pieces to be able to mount the building tension which has a sense of disquieting claustrophobia. The director was so intent on authenticity when it came to a feeling of suffocation which he refused to open way up walls or build special set pieces for that camera to fit in to; every location is true, and every shot is determined up within it. No Hollywood tricks are engaged here, and it makes all of the difference.
In addition to Jardin's deft work behind the camera, Sisley's devotion to his role – both the emotional and physical development of his character – is actually palpable. Whether he's breaking down within a stairwell, beating a man in a back room or behind the wheel during a high-speed pursue, Sisley is giving 110 percent. Plus, he does his own choreography and stunts. Watch your backs, Bruce Willis, Tom Cruise, Matt Damon, Denzel Washington, Daniel Craig and Company. – this guy is the truth, and he's nipping at the heels.
Sleepless Night is one of those thoroughly satisfying, endlessly entertaining and completely adrenaline-inducing films that grips on and never lets go. There are echoes involving Hitchcock films, The Raid, Die Hard and Travel within its frames (although Jardin would let you know he was primarily influenced by South Korean cinema for instance Oldboy), but it does by itself justice by proving to be a fully developed standalone bit of cinema. Don't wait for the remake that will put this one on your own radar: Jardin's version of Sleepless Night may be the original, and an instant classic.
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