The Night of the 12th

This film was quite the ride, I must say. While the more contemplative side of me understood the filmmaker’s choice to leave the ending open, the police procedural junkie inside was practically screaming, “Just give me the damn killer! You can’t leave me hanging like that,” when the credits rolled. 😊

From the get-go of “La Nuit du 12” (The Night of the 12th), we witness a young woman brutally murdered on a dimly lit street, sparking a gripping police investigation that unravels throughout the entire film. As it turns out, this woman had been involved in casual encounters with multiple men, leading to a surge in suspects and some rather biased remarks from the all-male investigative team.

Directed by Dominik Moll and co-written with Gilles Marchand, this French gem debuted at Cannes in 2022, winning top honors like Best Film, Best Adapted Screenplay, and Best Director at the 2023 César Awards. Based on Pauline Guéna’s book “18.3 Une Année à la PJ” (One Year with the Crime Squad), the film draws heavily from Guéna’s firsthand experiences with the Versailles police force. Moll was particularly drawn to the depth of detail Guéna provided after spending a year immersed in police work, a quality that undoubtedly shines through in the film’s authenticity. The natural dialogue, in particular, adds a layer of believability that truly enhances the storytelling. It’s a gentle reminder that thorough research always pays off.

While Moll intended to explore the psychological aspects of unsolved crimes for investigators, screenwriter Marchand brought a thought-provoking angle to the table, urging the film to question gender dynamics. At one point, it becomes glaringly evident that Clara, the young woman at the center of it all, is just another casualty in a male-dominated world. I can’t help but agree; something feels amiss in the way men and women relate today. What we often label as love seems more like a power struggle, echoing our attachment wounds. It’s no surprise that femicide rates continue to climb worldwide.

In one interview, Moll admitted to drawing inspiration from the works of French director Jean-Pierre Melville and Spanish director Rodrigo Sorogoyen while crafting this film. Their unique perspectives prompted him to reconsider the nuances of police procedurals. Admittedly, I haven’t delved into their work yet, but I’ll check them out because I feel there is something there for me.

As I mentioned earlier, the open ending of the film has left me somewhat conflicted. It starts with a sobering statistic: “Each year, the French police open more than 800 murder investigations. Nearly 20% remain unsolved.” And then it clearly states that the story will be about one of them. As the film goes on, the narrative boldly asserts, “Any man could be the killer of Clara.” It’s a powerful statement, no doubt. Yet as a writer, it wouldn’t be the path I would necessarily take to make this statement. Instead, at the end, I would go back to the first scene; the scene where a mysterious figure approaches Clara, and when he flicks his lighter, I would show a glimpse of the killer’s face. Just like handing a secret. It would be only between me and the audience. Authorities don’t have to be informed. 😊