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No one does a dark and grisly murder like the Scandinavians. The steadily rising popularity of Nordic noir is testament enough to this fact, as viewers of all stripes continue to embrace the twisty, chilly sub-genre, known for its flawed protagonists, moody visuals, bleak subject matter, and slow-burn approach to storytelling. Usually quite a bit darker than your average crime thriller, these stories often feature familiar plot beats garnished with unflinching violence and complex supporting characters. Netflix’s “The Chestnut Man” is one of the better recent examples of this phenomenon, a Danish thriller from 2021 that follows the investigation into a string of serial murders, all marked by the inclusion of a disturbing chestnut figurine alongside various mutilated dead bodies.
Now, five years later, Netflix is returning to the Nordic noir well with “The Chestnut Man: Hide and Seek”. A standalone sequel that’s based on another book by author Søren Sveistrup, who is probably best known as the creator of the internationally acclaimed drama “The Killing,” it’s a follow-up that ticks many of the same narrative boxes that made its predecessor so successful, and even cribs its name for some added brand awareness. Technically, viewers don’t even need to have seen the original to enjoy this installment. (Though, of course, it’s nice if you have.)
The six-episode sequel re-teams the unorthodox pair of seasoned Copenhagen detective Naia Thulin (Danica Curcic) and Europol interloper Mark Hess (Mikkel Boe Følsgaard) for a completely new investigation. The pair’s pre-existing emotional connection is the show’s only real link to its predecessor, but “Hide and Seek” adds some new context by confirming that the two attempted a romantic relationship in the unseen multi-year gap between the two seasons, and their subsequent (also offscreen) break-up has left plenty of unresolved tension between them.
“Hide and Seek” begins in 1992, as a brief prologue follows a busload of schoolchildren on a nature field trip who discover a dead body in the marshlands. The show is not subtle at all about the fact that this case will somehow play into the season’s larger mystery; the first of several formulaic elements pops up throughout its episodes. In present-day Copenhagen, Thulin and Hess are thrown back together to solve a case involving a woman named Zara Solack (Elisha Lack) who is found murdered after being stalked and harassed by a mysterious figure who sent her creepy texts containing lyrics from a nursery rhyme-esque song about counting, with some grossly misogynistic bits thrown in for good measure. But when it turns out that Zara isn’t the only person who has received such texts, Thulin and Hess will have to find a way to work together again to find and thwart a killer.
Elsewhere, grieving mother Marie Holst (Sofie Gråbøl) is still struggling to come to terms with the loss of her daughter, Emma, more than two years after her disappearance and death. Determined to get justice for her murder, she’s still digging into the past: Going through Emma’s laptop, reconnecting with her friends, and grilling an ex for any details her daughter might have kept from her back then about her personal life. No one who has seen the original “The Chestnut Man” (or pretty much any related show in this genre) will be surprised when evidence ultimately suggests Emma’s cold case and the ongoing present-day murders are connected in some way, but creators Dorte W. Høgh and Emilie Lebech Kaae manage to weave the two seemingly disparate plots together in a surprisingly satisfying way. (And that’s much less clunky than the series’s later callbacks to its opening murder.)
As a framing device, the obnoxious counting rhyme doesn’t offer quite as compelling or creepy a hook as the disturbing chestnut figurines that littered the show’s first season. (Whether this is because the song is intangible or really just kind of bad is a judgment best left to the viewer’s discretion.) Nothing about “Hide and Seek’s” central mystery feels particularly groundbreaking in its delivery or story, and there are moments when its slow-burn narrative style can feel especially ponderous. But for those who enjoy the Nordic noir genre’s familiar themes and plot beats, this is a strong example of many of its strengths.
The series is incredibly atmospheric, boasting moody visuals, muted colors, and a generally claustrophobic feel. It’s definitely not a drama for the faint of heart — there’s lots of violence, death, and some fairly grisly kills — but it’s tense and tastefully shot. It wrestles with frequently difficult subject matter without sensationalizing its worst elements. And there are several major surprises, including a dramatic mid-season twist that completely reshapes much of the story in unexpected ways, and a final reveal that is less overtly telegraphed than the conclusion of its predecessor.
Thulin and Hess’s partnership remains compelling despite their interpersonal problems, and the chemistry between Curcic and Følsgaard powers much of the season’s first episodes, particularly as the still-disparate pieces of the show’s larger mystery come into focus around them. Fans who watched the original “The Chestnut Man” may find themselves annoyed that the franchise essentially skipped over the primary beats of the pair’s romantic relationship, but their unresolved personal issues loom large over much of their investigation.
Curcic makes for a smart and capable lead, but Følsgaard gets stuck with the decidedly unenviable job of trying to make Hess’s commitment issues seem interesting, a task at which he does not always succeed. (Hess apparently just left the country and ghosted Naia after dating for six months? Boo this man.) Among the supporting cast, Gråbøl is a standout as the grieving Marie, torn between her desire for justice and her need to be present for her surviving children. Ester Birch is also excellent as Thulin’s now considerably older daughter, Le, who is resentful about Hess’s abandonment of her and her mother.
At the end of the day, “The Chestnut Man: Hide and Seek” isn’t exactly a series that’s reinventing the wheel in the world of crime dramas. But, in many ways, its formulaic nature is part of its appeal, and its solid execution makes for an enjoyable enough ride. (Once you get the counting rhyme out of your head, at least.)
All six episodes screened for review. Premieres May 7 on Netflix.
from Roger Ebert https://ift.tt/0dboNPi
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