An inexperienced student in Brussels, working part-time as a locksmith, finds himself in a dire attempt to survive the night when a standard job places him in the sights of a malevolent mobster in the debut feature of writer/director Michiel Blanchart titled Night Call. This adrenaline-charged action-thriller sustains a fast-paced rhythm, transforming a poor workday into a terrifying effort to dodge demise, featuring several blatant references to horror throughout the nerve-wracking excursion. Though it follows a recognizable pattern and its chaotic backdrop of Black Lives Matter protests appears more as a narrative crutch than of significance, its captivating protagonist, dynamic presentation, and tangible stakes guarantee an engaging viewing experience.
From the moment of his introduction, it’s evident that Mady (Jonathan Feltre) embodies a kind-hearted, trusting individual merely striving to get through his shift. He’s also fatigued. This exhaustion is why Mady fails to suspect that the woman, Claire (Natacha Krief), who’s been locked out of her flat, might be deceiving him about whether she truly resides there. He neglects the indicators that all is not right, including Claire’s assertions about wanting to quickly withdraw cash from the ATM so she can compensate him for his services as he waits. It is while Mady is waiting for her that the actual occupant of the apartment arrives. A deadly struggle breaks out, but Mady’s terrible night deteriorates further when he falls into the hands of the merciless crime lord Yannick (Romain Duris), who assigns him the task of retrieving what Claire has taken from him under the watch of his right-hand associate Theo (The Nun‘s Jonas Bloquet). The fact that Mady must accomplish this task before dawn or confront death instigates a ticking clock element.
In spite of an unrelenting onslaught of exhilarating set pieces and bone-breaking action sequences, Blanchart captures viewers with ethically intricate yet relatable characters. Feltre’s Mady serves as an endearing underdog whose minor error leads to a cascade of complications. Mady is not your typical action protagonist; he is a young scholar with a gentle nature but lacking any combat proficiency. This fish-out-of-water quality positions Mady as an ideal audience surrogate into this grim underbelly, yet Night Call excels in how it tarnishes his formerly untainted moral compass. Mady constantly finds himself needing to assess his choices and determine how much of his captor’s unethical conduct he should emulate if he wishes to survive; Feltre is more than adept at expressing the subtle intricacies of this dilemma.
Feltre’s frequent acting partner, Bloquet, also contributes significantly. Similar to Bloquet’s charming role as Frenchie in The Nun films, Theo embodies the tough exterior with a tender inner core. Well, to some degree. Theo possesses personal investment in Mady’s endeavor, and the tension between Theo and Mady propels the storyline forward with a consistent pace.
Blanchart drew inspiration from a real incident involving a Black Lives Matter protest escalating to violence for his feature debut, yet the director avoids delving too deeply into politics or using thisbackdrop to create an impression. Rather, it appears more like a support for the narrative’s progress and amplifying suspense. Mady, a black individual attempting to escape his white pursuers, for instance, opts not to contact the authorities at a pivotal juncture. The film’s climax also showcases a scene that relates directly to the era, yet falls short in making the desired effect. Mady remains too disconnected from the wider society, secluded by his predicament, to fuse a swift, captivating action-thriller with disjointed real-world concepts.
Nonetheless, Blanchart’s adrenaline-fueled debut delivers a stunning and enjoyable experience. There’s sufficient brutality and gore to attract genre enthusiasts, including The Evil Dead shown on a television in a segment showcasing almost a comical level of violence amid the incompetence of thugs. While it may likely be a tribute to Sam Raimi, who is producing a full-length adaptation of Blachart’s short film You’re Dead Hélène, there exists a playful wickedness in Blanchart’s depiction of violence that justifies that allusion. More significantly, it positions him as a director to keep an eye on.
Night Call is currently in theaters.