‘Case 137’ Review: Dominik Moll’s Riveting Police Procedural Places Good Cop and Bad Cop on Opposite Sides

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Why do so many people dislike the police?” This is a genuine and thoughtful question posed by Victor (Solan Machado Graner) during ‘Case 137’, which his mother Stéphanie (Léa Drucker), who’s a police officer herself in the French IGPN, finds difficult to answer. She finally concedes that being a police officer is not a popular profession because it doesn’t earn you friends through enforcing the law. However, she has more challenges than most: as an investigator, she makes countless enemies within the force as she delves into cases of police brutality and misconduct. Even outside the force, she faces similar prejudice, being lumped together with those she’s holding accountable. The series, directed by Dominik Moll, doesn’t ask viewers to feel sympathy for her character: in a corrupt system, personal integrity matters little.

Following several years away from the limelight among esteemed French filmmakers, director Moll experienced a resurgence in recognition (and won multiple César Awards in 2022 for his film “The Night of the 12th”) with this seemingly simple crime drama. However, as the story progressed, it unveiled deeper, more complex moral nuances. This was a stark contrast to the lighthearted Hitchcock tributes that initially brought him fame in the early 2000s. The new direction appeared to suit Moll well. His latest work, “Case 137,” debuting as his first Cannes competition entry since 2005’s “Lemming,” delves even further into the realm of procedural storytelling, meticulously exploring a single fictional case involving corrupt police officers, with minimal sensationalism or melodrama. Remarkably, it also includes an unexpected subplot about cat videos.

The production should resonate equally with both domestic and global viewers similar to “The Night of the 12th”, considering its relatable skepticism towards law enforcement, particularly due to its timeliness and universality. This is greatly attributed to Léa Drucker’s captivating, multi-layered portrayal that exudes both emotional depth and human fatigue. In a swift introduction, her character challenges an officer suspected of excessive force during the 2018 yellow-vest protests in France. He confesses to snapping after 15 years of unblemished service, imploring Stéphanie not to revoke his position. “I can only do policing,” he pleads, leaving us questioning if he truly has that ability. The uncertainty lingers.

Regardless, he’s one among many similar situations where the IGPN is struggling due to an ongoing flood of complaints from protests. Laurent Rouan skillfully edits together numerous interviews and investigative threads into a cohesive narrative that suggests an escalating institutional crisis within the organization. However, Stéphanie, who often empathizes with those she investigates, finds her sympathies challenged when Joëlle (Sandra Colombo), a distraught mother and nursing auxiliary, claims that her 20-year-old son Guillaume was shot in the head without provocation by unidentified BRI officers during a day trip to Paris. This incident left him with severe injuries. The victim’s family and friends are skeptical about Stéphanie’s ability to bring those responsible to justice, as they believe their word won’t be believed over that of the police. Remi (Valentin Campagne), a friend and witness, echoes this sentiment, “You think you’ll believe my word against theirs?” Moll’s detached analysis of the inner workings of “the police’s police” seems to validate their skepticism.

Your half-hearted investigations tarnish the whole force,” she is scornfully told by the girlfriend.

The crucial video footage revealing the police officers’ identity and their wrongdoing is eventually exposed, thanks to a reluctant yet decisive witness (Guslagie Malanda from “Saint Omer” in a brief, passionate appearance). At first hesitant to speak up, this individual criticizes Stephanie for naively assuming that all victims of police brutality receive equal justice. Despite the video evidence, the legal case remains complex, as Stéphanie encounters frustrating technicalities and obstacles from superiors within the police force. Initially confident and assertive, Drucker starts to show signs of fragility and withdrawal as she grapples with the relentless injustice. Additionally, she is confronted with a harsh question that gradually erodes her resolve: “You perform your duties diligently, but what difference does it make?

The humor and warmth are subtly presented through glimpses of a single mother’s life, portrayed by Machado Graner (Milo’s brother from “Anatomy of a Fall”), giving a convincing performance as Victor, a young teen grappling with newfound understanding of his parents and their work. A stray kitten adds an unexpected touch of sweetness, leading the character Stephanie into the delight of online cat videos, despite her father’s warning about distractions in life: “When everyone’s brainwashed and democracy’s dead, you’ll regret watching so many kitties.” Witty, simmering with dry anger, and provoking outrage in turn, the story “Case 137” remains focused on its central theme.

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2025-05-15 20:17