La Noche Del Crimen

This movie follows a police crew trying to figure out a gruesome murder that happens for no obvious reason or motive.

The build up and atmosphere are great, keeping us engaged and wondering - who killed that young, charismatic girl? Acting is superb and the suspense keeps you on your toes till the very end with a climax that is adequate and realistic.

I am doing my best not to give away the whole plot or the ending so I'll just leave it at that.

Really worth checking out.

9 out of 10 from me.

Dominik Moll's talent is no longer to be demonstrated. Only The Animals (2019) was an impressive film with its dramatic structure and rich story. Here with The Night Of The 12th, the dramatic line of the film is more direct, traditional. With a femicide, the investigation, the suspects, the cops and their problems. The film is embodied by its characters, that is to say by its actors who give the required forms, first of all, to the policemen with Bastien Bouillon all in power, Bouli Lanners rather in nominal mode (he makes the same character in many films), but also and especially the complementary actresses, all of them characters who exist and bring a lot of emotions in a natural way. This natural way gives a documentary patina to the film, which we imagine well documented.

The tone of the film, all in objective description of the reality and emphasizing the human nature, is what makes the film exciting in spite of its subject, dark, just like the photography of the film. In particular this photography is dark and grainy. It embodies the climate, the darkness, the horrific fact, and the dark story, especially in the content of the end and the frantic search for the culprit very difficult to identify.

The crime film is dramatic, as is this story when we learn how this story ends. Moreover, one of the challenges of the film is to revive it with the character of the judge played by Anouk Grinberg. A character that did not exist before in the film, but that makes it even more hypnotic.

On the surface "La nuit du 12" is a raw, powerful police drama, but it's layered with many social topics that give it a special kind of depth. Although constantly focused on the main case (shocking and inexplicable by the way - the stuff that "real horror" is made of) the movie manages to raise some fundamental debates about human behavior, love, fear, marriage, domestic abuse, sense of duty, etc.

To me it feels kind of like "Roubaix, une lumière", but keeping a more general or "abstract" approach.

Based on a real case and the experiences of the French judicial police, the movie is raised to another level by some stellar performances from basically the entire cast, a very solid experience that leaves a mark on the viewer. Highly recommended!

On the surface, this French Best Picture Cesar Award winner appears to be a straight police procedural about a case of a young woman brutally killed on her way home from a girl's night out. Dominik Moll's (WITH A FRIEND LIKE HARRY) adaption of Pauline Guera's non-fiction book about a true case changes the setting from Paris to Grenoble in the French Alps (Gilles Marchand collaborated with Moll on the script). Taking the story out of the hustle and bustle of the big city gives the movie more of an intimate flavor.

The two main cops on the case are a crusty older policeman Marceau (Bouli Lanners) and the younger new head of the squad, Yohan (Bastien Bouillon). The murder victim, Clara (Lula Cotton-Frapier), at first seems like a typical 21 year old - happy and well-liked. As the investigation continues they discover that she had a series of risky encounters with various guys. As more and more men are revealed, the more vexing the case becomes for instead of narrowing the potential pool of suspects, it widens them.

The frustration makes Marceau increasingly edgy. He is going through his own relationship issues and tarts to crack, lashing out at the potential killers. Yohan on the other hand, becomes more introspective, more intense. While many in the department and the public begin pointing the finger at the victim, Clara, Yohan feels more and more protective of the dead woman. It all increases his obsession with the case - and Clara's memory and reputation.

The decision to move the location to a smaller town is a wise one. Not only does it allow a more personal touch, it virtually eliminates the notion that it was some random killing as you would have in a metropolis like Paris. Everybody knows everyone in the area, but they seem oblivious about what secrets are happening all around them. Lanners and Bouillon are very good, as is Pauline Sereiys as Clara's best friend. Later on, two strong women characters, a Judge (Anouk Grinberg) and a fellow police officer (Mouna Soualem) enter the investigation and buttress Yohan's compulsion for the case.

NIGHT OF THE 12TH is a strong and disturbing drama. It may not satisfy those who want easy answers, but it realistically shows the frustrations inherent in police work and reality that justice isn't a guarantee for all.

French filmmakers are the kings of realistic cop films. Here's another story of a detective haunted by a difficult case. The resolution is spoiled in the very first credits, so the expectations are clearly set from the start. That doesn't make the investigation process any less interesting, with good characters, good dialogues and an enthralling pace that resembles the drifty focus of a detective working overtime.

It had me glued to the screen. Then, suddenly, after some timely reflections on male violence, several female characters appear out of nowhere and become the ones with the good ideas, the initiative, the answers, the ones in control of their emotions... it's not subtle at all. There are several allusions to the ineffective police work of male detectives specifically. At first it didn't bother me because the script is intelligent, on the whole, and not at all the usual Hollywood schmaltz, but this abrupt shift in content, tone and style is off-putting, the narrative becomes blatant, as if it was written by someone else. These scenes are added to the more or less fictionalised account of real events, I don't know, it certainly feels like something "added" to find a solution to the plot.

This does not affect the point they're making though, it's a strong one, presented here as in no other film I know of, with a case that speaks for itself. At the heart of the violence there is also a place for the police, and they're both full of men. It elevates the film, regardless of one's opinion on the late, abrupt loss of subtlety.