If you trust my recommendations dear reader, stop reading right now and just watch this. If you need a little more convincing, read on. It’s only March and Midnight Sun has quite possibly staked the claim for most gripping episode 1 of a drama series this year. It’s an hour of tv that’s up there with The Killing and The Bridge. All the praise to Sky Atlantic for serving up this slice of stunning high-end noir. My only criticism is they’re portioning it out into weekly helpings, and I can’t bosh the lot in a weekend. Because I very definitely would.
This is a French-Swedish coproduction (yes, it has the Canal+ mark of quality) which follows Kahina Zadi (Leila Bekhti), a French police officer, as she heads to a small mining community in remote northern Sweden to lead an investigation into the spectacularly grisly murder of a French citizen. Her Swedish sidekick is local DA Anders Harnesk (Gustaf Hammarsten) and his rather more jaded boss Rutgar (Peter Stormare). Even with just a few minutes under the belt we can see that all of these characters are fully fledged with their own particular quirks and histories just beginning to be hinted at.
Continue reading “‘Midnight Sun’”
This is a super-short Icelandic drama series a friend pointed out to me, and wondered why I hadn’t watched it yet. Fortunately it’s on UK Netflix, and so short you could watch the lot in an afternoon.
Welcome to The Lava Field (the original Icelandic title is Hraunið. In suitable Scandi-noir fashion it grabs the attention straight away with swift shotgun action. This version of the mysterious island is filled with extremely neat well-lit houses, beautiful boxes, like candles against the black bubbly lava field backdrop. The vast majority of the shots are bright and wide; you need to watch it wearing sunglasses. The brightness is throughout – both interiors and exteriors. I suppose Iceland has a complicated relationship with daylight and the sun, in a country where it doesn’t set for four weeks in the summer.
Continue reading “‘The Lava Field’”
Another tv treat from the Birmingham Literature Festival this year was Hans Rosenfeldt and Ed Thomas in conversation. The men may not have household names, but you’ll certainly know their work. Hans is the leader writer and creator of international mega-hit The Bridge and Ed writes the sparse and beautiful Hinterland set in Wales. Both shows are available for a cosy night in on Netflix. The guys were on the programme as a duo because they both write about murders and cops in a distinctly unusual bilingual fashion. The interviewer from the Writers’ Guild of Great Britain skillfully weaved their experiences together, but for ease of reading I’ve pulled them apart again, with a bit of chat about similarities and differences to act as *ahem* a bridge between the two…
The Bridge – Hans Rosenfeldt
Hans is a big lumberjack type who looks super comfortable in front of the audience. I’m sure he’s well versed in talking about Saga, Martin and The Bridge. He starts by telling us a little about the writing process – 70% of the episodes he writes alone in Swedish. The scripts are translated after the third draft by a ‘proper’ translator and then one writer makes it sound “less translated” and turns it into ‘improper’ spoken Danish. He says despite Swedish and Danish sounding pretty close to our English ears “we made up the fact that we understand each other”. He says not understanding would have given them big problems with tense scenes like interrogations. So, despite appearances, it’s all false and Swedes especially have trouble with Danish. He says he’s not massively happy with the subtitles on Netflix as they are not always correct and English-speaking audiences are losing a little in translation.
Continue reading “Dead Pixel Test Live! – The Bridge to Hinterland”