Once a director of Hitchcockian thrillers, Moll has lately made a signature of the police procedural.

This is a very different version of Drucke...but here too she has the gift of retaining our sympathy without seeming to ask for it, and of revealing emotion while appearing to cover it up.

Moll’s self-contained feature feels almost too neatly constructed in the way that it brings Stéphanie’s professional tensions into her familial sphere -- a minor flaw that doesn’t make the outcome any less enthralling.

In "Case 137," the machinery of accountability is not necessarily broken. It may be functioning precisely as intended.