“Nobody will know” evaluation: A Paris bar is host of a loop crime thriller | Reviews

Dir: Vincent Maël Cardona. France. 2025. 115 minutes

When the dawn breaks, a mixture of regular guests and strangers washed in a downshift bar named Le Roi Soleil on the outskirts of Paris; The end of a long night for some, the beginning of a new day for others. Everyone feels normal on one of the regular guests a mild male classic car named Monsieur Kantz (Claude Aufaure) a lottery jackpot of 294 million euros. A weapon is pulled, shots are fired. And the winning ticket remains without the owner. The remaining customers recognize a chance and try to record a cover story to share the price between them. But like this slippery, loop thriller – repeated – nothing is easy.

The script could go out on the feet with much easier

This is the second feature of the Breton -born director Vincent Maël Cardona. His first was Magnetic beats (2021), who vividly held a time, place and a cultural moment in the Pirate radio scene of the 1980s and won a Cesar after the premiere in the four weeks of Cannes. An invented genre picture that draws in Cannes in a midnight slot, Nobody will know is a less obvious personal work for the director. The playfully serpentine structure-the history is repeated and repeated from a different perspective in order to take into account the latest lies that are developed by the money-hungry borders-to a certain point. However, this is the type of rattling thriller with a high concept, which is successful or fails the energy and conviction of the storytelling, both of which takes place long before the film takes place.

Although it takes place almost exclusively in the inconspicuous bar, the film is booked by two scenes in the Palace of Versailles. The first to play in the evening before the events described in the film, follows Erwan (Joseph Oflivence), a torn financier at a Galaparty who puts in towing the king's bedchamber with a shocked intern (Sylvain Baumann) in tow. He gives a lecture on his ladder theory of social status while trying to seduce the unfortunate internship. Then the security personnel get in with him and he is forced to flee the night and flee the night.

When we meet Erwan next, the drugs have worn out and regret is involved when he contracts in a corner of the bar. It is an elaborate introduction to a character that turns out to be a smaller player in the history of development. And this, together with a coda, the Versailles, this time repeated during the reign of Louis XIV, is one of the more ineffectious elements of the script, which has to do with much easier feet.

What we have to get closer to this ensemble are a few police officers, Livio (Pio Marmai) and Reda (Sofiane Zermani). Regular guests at the bar, they close after a stressful shift. Livio, a naturally worried, is annoyed by the fact that he used to release his firearm in the evening to dispel a crowd. He also dealt with a recent one -night stand with the waitress of the bar, Esme (Lucie Zhang), a philosophy student, who works out of the books to finance her studies. Nico (Xianneg Pan) is her employer and the owner of Le Roi Soleil; Abel (Panayotis Pascot) is a paramedic who stirred a trauma from a trauma from a trauma during his work. The arrival of an excited stranger (Némo Schiffman) sets the nerves of the regular guests on the edge.

The tensions explode as soon as the extent of the lottery victory becomes clear and the growing greedy despair matches the number of body. The karaoke machine is launched and the sticky light show gives the film a grotesque quality. The bar has a purgatory aspect, a feeling that there is no escape as soon as they are there and shopping into the badly gotte scheme. A character that was locked in a room in the basement crawls through a ventilation shaft to determine that it leads directly into the room next to his. And when the story switches back on itself, we start to share its frustrations.