La notte del 12

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.

In its bones, this is a police procedural of a pretty classic sort, albeit with an overlay of social awareness, But it's done with enough style and restraint to make it a very satisfying example of the genre, in an excellent French tradition that goes back to Quai des Orfèvres and the outstanding 2005 film Le Petit lieutenant, to name just those. It involves a group of cops from the Grenoble branch of France's Police judiciaire, the equivalent of the criminal-investigation side of the FBI (vs. The latter's national-security functions, which are handled elsewhere). The P. J. takes over from the local police or (in this case) the gendarmerie, in really tough and complex investigations, as it does in the real-life murder case that is re-enacted here. Operating in tandem with an investigating magistrate, it has, as is demonstrated here, awesome investigative powers.

Not that they are of much use in this frustrating case, where, as the chief investigator points out, any of a whole range of suspects could easily have been the murderer of an attractive, charismatic young woman as she returns home on foot from an evening with her pals, even though there's no convincing evidence against any of them. It's no spoiler to say that the case, which eats away at the investigators, remains unsolved -- we're told this before the film even starts. So there are no triumphs of police work, and all seeming breakthroughs lead nowhere, all of which gives the film unusual texture. The agents are smart, determined, well-trained, and sensitive, and the film is as much about how they deal (not always well) with the limitations they come up against as it is about the more explicit, and perhaps overemphasized, theme of male abuse of women.

Some of the usual tropes of the genre are present. There are tensions within a group of policemen (the one woman appears later, to welcome effect) of contrasting personalities, with arguments over procedure and over basic philosophies, and there's a digression into the marital difficulties of one of them, Marceau, played powerfully by the Belgian actor Bouli Lanners. All this is handled with uncommon deftness and understatement. Add to this the spectacular mountain scenery of the Grenoble area, and La nuit du 12 drew me in and held me.

Much of the film is carried on the shoulders of the strikingly youthful lead investigator, Capitaine Yohann Vivès, played very convincingly by relative newcomer Bastien Bouillon, for whom I hope this will be a breakthrough. Both the character and the actor himself are given tough assignments. In the actor's case, the screenplay calls for him to communicate via long silences, during which he is required to react through only the subtlest shifts of expression, something he does remarkably well. He's also very convincing in his handling of the smart, slangy dialogue that the excellent screenplay assigns to him. Not all the sharp wordplay can make it into the subtitles, but the laughter around me this evening made it seem like not that much is lost, either.

So: La Nuit du 12 may not be a great classic for the ages, but, for its thoughtfulness, its wit and sincerity, and some very fine acting by all concerned, it is a very satisfying entertainment.

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!

We have a typical murder mystery underway but leads run cold and so does the story.

Instead of taking the story up and into new directions or at least with some progression, it becomes bogged down in it's own meandering pacing. It's as though the film dies halfway through.

What's really irksome is that modern American moralizing has now reached Europe. What the entertainment consistently fails to address is that on average, 70% of homicide victims are male.

One character says, 'There is something wrong between men and women.' No, there is something wrong with lazy, uneducated scriptwriters who tell stories based on impressions and clichés rather than doing any simple research into crime statistics.

It continues on throughout the second half of the film, which is the same area where the pacing becomes overly sluggish. The 'messaging' overrides the story and the journey of the characters. Very disappointing.

Europe has largely avoided American style clichés, but this is not a good sign. Please be more original. Black Box was an excellent recent French film, as an example. Europeans have long done their own thing. May it continue. Please.