Vincent is really a well-respected cop, as well as a devoted husband and father. But below the floor of his idyllic lifetime, Vincent is involved which has a very dangerous group regarding gangsters and drug dealers. When Vincent and his partner are caught stealing a huge quantity of cocaine from a powerful drug lord, the darker side of Vincent's life threatens to be able to destroy his family as well as career. In a race against the clock, Vincent must return the drugs to save his son's life.
Jardin wastes no time easing into your action, as the movie clears on police partners Vincent (Sisley) as well as Manuel (Laurent Stocker) intercepting any cocaine hand-off in what becomes an auto chase and bullet-laden battle. We learn that the cops are preparing to keep the stash with regard to themselves, but when mob boss/nightclub seller Marciano (Serge Riaboukine) catches wind of the double-cross, he kidnaps Vincent's child Thomas (Samy Seghir). The ensuing race against time to rescue his child, which ends up involving other cops in the force (among them the lovely Lizzie Brocher? as Vignali) occurs almost entirely within the bowels of the nightclub.
A single-location film is often a feat unto itself, but Jardin makes 2 incredibly smart decisions: First, he treats the location being a character, introducing us to their various components – again rooms, kitchens, walk-in freezers, overhead crawl spaces, bathrooms, pool halls, dance floors – and builds on the importance, eventually involving them in the action. Second, he utilizes a shrill report, the duality of blown-out and also shadowed lighting, handheld camera techniques and intensely cramped set pieces for you to mount the building tension having a sense of disquieting claustrophobia. The director was so intent on authenticity when it located a feeling of suffocation that they refused to open upward walls or build special set pieces for your camera to fit in; every location is authentic, and every shot is scheduled up within it. No Hollywood tricks are utilized here, and it makes all of the difference.
In addition to Jardin's deft function behind the camera, Sisley's devotion to his role – both emotional and physical improvement of his character – is palpable. Whether he's breaking down inside a stairwell, beating a man inside a back room or when driving during a high-speed chase, Sisley is giving 110 percent. Plus, he does his very own choreography and stunts. Watch your backs, Bruce Willis, Tom Cruise, Matt Damon, Denzel Washington, Daniel Craig and Co. – this guy may be the truth, and he's nipping at your heels.
Sleepless Night is among those thoroughly satisfying, endlessly entertaining and totally adrenaline-inducing films that grips on and do not lets go. There are echoes involving Hitchcock films, The Raid, Die Hard and Push within its frames (although Jardin would let you know he was primarily motivated by South Korean cinema for instance Oldboy), but it does by itself justice by proving to become fully developed standalone part of cinema. Don't wait for the remake to place this one on your own radar: Jardin's version of Sleepless Night is the original, and an instant classic.
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