There's a delicious surprise in Night Call, a Brussels-set action movie that plays out over one brutal night shift. And it's just how plausible every moment feels. Forget high-flying superheroes, Force-wielding Jedis, or car thieves who defy the laws of physics. There's good fun to be had in such movies, for sure. But filmmaker Michiel Blanchart makes his directorial feature debut with a lean and brilliant thriller that is uniquely thrilling because of how devotedly grounded it is.
The screenplay (written by Blanchart and Gilles Marchand) begins simply enough, following twentysomething Mady Bala (Jonathan Feltre) through the routine of his night job as a locksmith. He gets a call, checks for proof of ID, cracks the lock, and gets paid cash. Easy. That is, until a cute brunette who calls herself Claire (Natacha Krief) lures him into a heist. Next thing Mady knows, his routine is in the rearview mirror as he races to survive a night where he's enraged a ruthless gangster with a band of skinheads at his beck and call. To live, he'll need to get the girl — or at least the cash.
Racing across Brussels, from its high-rise apartments to its bumping nightclubs, seedy brothels, and claustrophobic basements, Blanchart puts Mady through the wringer, and we get to be his captive audience.
Night Call's violence hits harder because it feels real.
The first taste of action comes in the apartment Claire claimed was hers. Left alone, Mady silently takes in the living room's layout, the Nazi memorabilia prominently displayed, and the hulking stranger who has just found an intruder in his place. Before Mady can explain, he's attacked. And scrambling to fight back against a brute who would turn his face into a fire — with an assist from the lit stovetop — Mady has to think fast. He smashes a plate, turning its shards into a knife, perfect for a quick stab to the gut.
While this might sound like a masterful improvisation of weaponry, Feltre's performance is one of terror and bewilderment. His limbs fly in defense powerfully, but not confidently. He's not Jason Bourne, conveniently trained to best any adversary. He's just a guy trying to get through the night. And this scramble makes all the violence inflicted by and on him hit like a gut punch. The stakes feel real as Mady wriggles away from the neo-Nazi on a rampage. And even as this scrappy locksmith bests him with a lucky blow to the neck, he's not ready for the fallout. Specifically, Mady gags at the sight of blood burbling from his fallen foe's neck.
In one swift and brutal action sequence at the film's top, Blanchart keenly establishes the life-or-death stakes and the gritty reality of this action movie. The broader details of the gangsters and their crimes are kept smartly vague, as none of that matters in the urgency of Mady's dilemma. And it's absolutely enthralling to see this slim everyman in a bulky jacket, obscuring his ripped physique — as opposed to a jacked-up Wolverine — take on the hell that is the night ahead of him.
Night Call delivers exhilarating twists and superb performances.
Not versed in how to commit murder, much less covering one up, Mady is soon in the hands of a scowling kingpin (French actor Romain Duris, The Beat That My Heart Skipped), who turns him over to two cronies assigned to the task of recovering the loot that clever Claire stole. No one cares that Mady was an unwitting accomplice. Reason and rationale are a luxury Mady is not granted, and so he must look for any opportunity to best his captors.
Night Call veers from Mady being pushed around to him defiantly breaking free in ways small and large, changing his fortune with impulse or ingenuity. It's thrilling to see where his story will go next, because it's impossible to predict. Blanchart and Marchand reject action movie tropes by having their hero be a true underdog, who must rely not only on the kindness of strangers (or in this case, Black Lives Matter protesters) but also the femme fatale who set him up to survive. But even as Night Call turns into film-noir territory with Claire, the screenwriters refuse to keep her an easily evil figure. Instead, the film twists into emotionally intelligent terrain that makes its climax incredible in more ways than one. Not only does Night Call defy genre expectations, but it also plays to reality without feeling like a letdown.
Props to an impeccable cast. Feltre is a riveting leady man, committing convincingly to the fight choreography without losing Mady's wide-eyed shock at his circumstances. Opposite him, Duris — whose previous movies range from Jacques Audiard's neo-noir Beat to rom-coms like Heartbreaker and the dreamy Mood Indigo — is harrowing as a snarling gangster. As a young tough, Jonas Bloquet is both intimidating and intriguing, while Natacha Krief as Claire is so deeply charming that it's easy to see how Mady fell for her ruse. All down the line, the performances in Night Call are distinctive, dark, grimy, and even sometimes grimly funny, making the underbelly of Brussels a place that's sinister but sensational.
Combine these crackling performances and the savagely smart script with cinematographer Sylvestre Vannoorenberghe's smooth sensibility, which thoughtfully pushes and pulls audiences through the labyrinth that is Mady's mad night, and this movie is an absolute stunner. In the end, Blanchart's first film is as electrifying as it is surprising. An action movie that's daring, dark, and distinctly wild, Night Call is not to be missed.
