“Green Book”–Required Reading

Green Book movie

It’s 1962, you are African American and you don’t travel in the US without the Green Book, an unofficial domestic passport (for Jim Crow laws).  The Green Book is an indispensable guide for African Americans looking for accommodations while traveling. (Similar guides existed for Jewish and gay travelers.)

Inspired by a true story, we see Dr. Don Shirley (played by Mahershala Ali of “Moonlight”), a renowned pianist, about to embark on a concert tour throughout the US. Shirley hires Tony Valleylonga –“the Lip”–(played by Viggo Mortensen of “Lord of the Rings” and “Eastern Promises”), a bouncer from an Italian-American nightclub in the Bronx, as his driver and bodyguard. Despite their differences in education and sophistication, the two men unexpectedly develop a close friendship while confronting racism and danger on the road. Neither of the men expects to face the situations they encounter. Respectful treatment of the two main characters gives Green Book heart and universal appeal.

The facile ending, however, does not do justice to this award-worthy film. The complexity of Don Shirley and Tony Valleylonga is not developed, although attitudes of “cultured wealthy elites” and hostile “country folk” avoid stereotyping.

An intellectual with an implied secret life as a homosexual, Shirley does not feel at home with blacks or whites. His loneliness propels him to emotional desolation. Portraying this part of his life more fully would have made Green Book even stronger

Green Book

Nonetheless, Green Book is a worthwhile movie to add to the 2018 list of must-see films. Awareness of this shameful period in which Green Books existed is long overdue. Green Book touches upon the gripping fear that African Americans endure even today, whether driving on a country road down South or walking with a hoodie up North.

Note: Currently at theaters. Watch for Academy nominations for both Mahershala Ali and Viggo Mortensen, well-matched as a dueling duo.

The Final Year–The End of a Term

 

The Final Year

The Final Year, Greg Barker’s HBO documentary, covers January 2016 to January 2017 of the Barack Obama administration . It is quietly devastating and demoralizing footage of the last twelve months of foreign statesmanship before the Trump administration.

Don’t expect that The Final Year will give you a portrait of the 44th president in the looming shadow of what was to come. The Final Year actually follows Samantha Power, U.N. Ambassador and Deputy National Security Adviser Ben Rhodes, as they almost inexhaustibly pursue Obama’s foreign policy agenda with heart and soul. The empathy they have for global unity is palpable. The Final Year documentary

The undoing of every last element of what the people onscreen are busy accomplishing is the not-so-subtle theme of The Final Year. The power of this documentary is gut-wrenching.

Tense, empathetic Samantha Power doesn’t avoid exposure to the horrific pain of parents in refugee camps. She is especially moving as she fights tears in the name of duty, having been an immigrant from Ireland herself. Outraged by an attack on a humanitarian convoy in Syria almost certainly ordered by Putin, Power shouts at the implacable Russian ambassador, “Is there literally nothing that can shame you?”

The tireless 72-year-old John Kerry, who travels by boat amid spectacular but melting Greenland icebergs, is conflicted– as a Vietnam War vet– in his attitude toward military invention in the Middle East. And the brilliant Rhodes, whose magic as a wordsmith provides alchemy to Obama’s speeches in Vietnam, Laos, and Hiroshima, is rendered speechless in the immediate aftermath of Hillary Clinton’s defeat.

While Obama’s intellectual demeanor continues to inspire his staff, The Final Year rather surprisingly also suggests Obama’s emotional distancing, an abstraction or cutting off from what would certainly follow: the eradication of many of the policies his administration fought for. He believes that deaths from global conflict are far fewer compared to the last century and that democracy is going in the right direction. Power and Rhodes, both of whom have great pride and zeal in working for President Obama, nevertheless disagree.

As The Final Year concludes, Obama supporters are likely to find the movie terribly crushing and bleak. And viewers who opposed him? They probably won’t be interested in watching The Final Year at all.

 

Note:  Available on Netflix as a DVD.

 “House of Cards” (Final Season)–A Different Shuffle

House of Cards Season 6

In the earlier five seasons of House of Cards, Frank Underwood (played by Kevin Spacey) represented the Machiavellian Chief Whip then Vice President, and then President. As he manipulated his fellow party colleagues, foreign prime ministers (principally Russia), we witnessed the dark truths of American politics by a despotic megalomaniac.

Now, in Season 6, Frank Underwood is dead, but we don’t know how.  His widow, Claire Underwood (the phenomenal Robin Wright) is President and has inherited her dead husband’s enemies.

Dealing with the aftermath of her husband’s death, and declaring that “the reign of the middle-aged white man is over”, Claire clashes with corporate moguls, the Russian prime minister, and her own vice president.

Trying to forge her own path as President, Claire takes no prisoners and feels no regret. But Claire’s late husband still casts a long shadow. “Frank’s legacy” is the cornerstone of the series finale.

House of Cards Season 6

The powerful ending of this season of House of Cards is dramatically sharpened and has an even darker theme: gender issues and patriarchy infused with a stench of misogyny. Claire’s dark secrets venomously boil over, ratcheting towards an ignominious confrontation with Doug Stamper, Frank Underwood’s obsessively devoted acolyte who cannot forgive Claire for what he imagines she is doing to Frank’s legacy.

Overlaid with the backlash of the first female President, we see Claire have to disassociate from her husband’s despicable acts. Nevertheless, her political enemies delight in accusing her of being guilty of Frank’s sins.

Frank’s reach is beyond the grave. As Claire’s enemies come close to impeaching her, Claire does what she and Frank did the last time they got close to defeat: she manufactures a crisis. Claiming that terrorists are attempting to acquire a nuclear bomb, she creates a military standoff between U.S. and Russian troops in Syria.

It’s the thunderous theme of House of Cards: Power is fragile– and we watch as the powerful can be brought tumbling down by the smallest misstep. Claire’s own reign is ultimately doomed to fail, playing a near-impossible game, but as we watch we don’t know how or when.

House of Cards in its final season ends on a dramatically different, more ambiguous and amoral note, than any of its previous seasons or its BBC predecessor. What Frank and Claire did may not really be out of the ordinary. House of Cards is more about the undetected, malignant form of insatiable power: more difficult to expose and defeat.

Totally unexpected, this season of House of Cards is a different and more frightening look at unhinged power. Robin Wright is a marvel to behold!

 

Note:  I have reviewed Seasons 1-4 previously.

 

“Queen of Katwe”–Queen of Chess

Queen of Katwe

Queen of Katwe, an  indie film based on a true story, features 10-year-old newcomer Phiona (Madina Nalwanga) living in the shanty town of Katwe in Kampala, Uganda. She is an impoverished little girl who is in a constant struggle to survive along with her mother Harriet (the extraordinary Academy-Award-winning Lupita Nyong’o of “12 Years a Slave” and “Black Panther) and younger brothers. Queen of Katwe movie

 

After Phiona meets Robert Katende (David Oyelowo of “Selma”), a missionary who teaches children how to play chess, her outlook becomes more aspirational than selling vegetables at the local market. Under Katende’s guidance Phiona develops into a chess prodigy, becoming not only a champion player but also a scholarship student in  an elite school. She now has an opportunity to escape the misery of her family life. She refuses to let her gender, social status, or lack of an education interfere with her dream to become Uganda’s national chess champion.

One of the more emotionally authentic subplots in Queen of Katwe is the tenuous relationship between Katende and Phiona’s mother. As the mother begins to worry about her daughter’s promising future distancing her, we see a mother-daughter relationship pictured as loving but also awkwardly threatening. Under the direction of Mira Nair, there is no artifice, subplot cliches, or unnecessary romance.

Queen of Katwe is appealing to all ages, and a positive domestic vision of a family with a single mother living in squalor. This film is first and foremost about a young girl’s empowerment and her mother’s unconditional love and acceptance.

The actors are standouts: Newcomer Madina Nalwanga exudes the authenticity and spirit essential for evoking truth. Oyelowo further establishes himself as a powerful presence. And, of course, there is Lupita Nyong’o who must take a stock mother-figure role and turn it into something else, setting every scene with a fire-in-the-belly strength to match Oyelowo. This acting triumvirate makes Queen of Katwe a crowd-pleasing family film for the holiday season.

 

“The Invisible Guest”–What You See is Not What You Guess

 

The Invisible Guest 

The Invisible Guest (2016) (Spanish: Contratiempo) is a 2016 Spanish crime thriller by director and writer Oriol Paulo. The intricate plot will leave the viewer spellbound .

Adrián Doria, a successful business entrepreneur, husband and father, is knocked unconscious, and wakes up in a locked hotel room to find the dead body of Laura Vidal, his married lover. Charged with murder but wealthy enough to be out on bail, Adrian soon learns that his lawyer, Félix Leiva, has hired the renowned defense attorney, Virginia Goodman, to represent him. She visits him late one evening to inform him that a witness has come forward to testify against him. He must tell the whole story quickly so she can prepare his defense. Goodman pulls no punches in the resulting cat-and-mouse game.

No spoiler alerts here! Suffice it to say that you must pay attention with every scene, even though–as in many foreign films–the pacing sags in the middle. The viewer will be rewarded, however, with clues and red herrings that are purposeful and complex, not suspecting how the interconnections make sense. The Invisible Guest requires more than the usual demands on the viewer’s attention in order to follow the plot.

Just when you think you have a reasonable explanation for what has taken place and who the probable perpetrator is, a new scene with a different point of view enters, and you are wondering again who is guilty of the crime. The story becomes so populated with different points of view and arguments back-and-forth with Virginia Goodman that the viewer is engaged up to the final reveal.

The narrative and plot remind me of Gone Girl with a number of unreliable versions of the crime scene. This masterpiece consistently changes the game, raising more questions than it answers. Consequently, the viewer parses the dialog and several accounts of the crime into puzzle pieces– but they don’t fit. The Invisible Guest is crafted so well that you don’t  see the intricately woven web  unravel as it does. There is always the who before the why.

The Invisible Guest is a winner! This Spanish gem is thrilling, suspenseful, mind-blowing, an edge-of-your-seat riveting tour-de-force for thriller/mystery enthusiasts and psychological film-noir fans.

Note: Available on Netflix streaming.

 

“Colette”–A Woman Ahead of Her Time

 

Colette movie

Guest reviewer: Barbara Donsky, author of the memoir, Veronica’s Grave

 

“Colette,” opens in the countryside of rural France as we meet the young Sidonie-Gabrielle Colette (Keira Knightley) at home in Burgundy. In short order, a successful Parisian writer known as “Willy” (Dominic West) pays a visit to Saint-Saveur-en-Puisaye, and before long he and Sidonie are enjoying an energetic romp in the hayloft. Soon after, Sidonie (destined to be known simply as ‘Colette’) is installed as his wife in Paris.

But when Willy begins having problems with creditors, he convinces her to write a novel under his name. In fact, he locks her in a room! “Write!” he bellows. So she pens a story about a sassy country girl, “Claudine,” which becomes a literary sensation. Willy wants yet another novel from her and another. And so it goes. She will not write a book under her own name until she breaks with Willy, a wily philanderer, in 1906.

In fin de siècle Paris, Colette will go from enabling wife to the grand-mere of feminist literature and a bisexual adventuress. In this beautifully filmed biographical drama, you can track her transformation by her clothing—from the yellow country dress to the mannish suits. When her husband buys her an expensive Parisian gown— at a time when society ladies were dripping in jewels and wearing extravagant designs— she wants no part of it. Indeed, her idol was Amantine Lucile Aurore Dupin, who wrote under the pen name George Sand and preferred wearing men’s clothing.   Colette the movie

Colette’s self-confidence changed a country girl into a fashion icon, the most photographed woman of her time. Doing so, according to the director Wash Westmoreland, at a time when a woman could have been arrested in Paris for wearing men’s clothing.

The film is a joy! Oscar-whispers are circulating for Kiera Knightley.

 

Note: Barbara Donsky’s last review for us was “Cezanne et Moi” –Artistic Jealousy (June 27, 2017)

“The Wife”–The Invisible Woman, or…Stand by My Man

The Wife movie

The Wife, based upon Meg Wolitzer’s bestselling novel by the same name, opens with a sixty-something affluent couple, Joan Castleman (Glenn Close) and her husband, Joe (Jonathan Pryce), waiting for the phone to ring in the middle of the night. A perhaps futile hope that the Nobel Prize committee will grant Joe his dream of a lifetime–the Nobel Prize in literature.

Like two kids, Joan and Joe jump on the bed, ecstatically holding hands, singing “I won the Nobel.” Or was that a “we?” It is 1992 and Joe and Joan Castleman’s lives are about to be changed irrevocably.

A raw unfolding of secrets, infidelity, resentment, self-sacrifice, delusion, and rage erupt from the couple’s souls and that of their son, who is reminded by his father that he is merely a shadow of his own greatness. What a wonderful homage to father-son, and to husband-wife! The complexities of their relationships reveal a whirlwind of bliss and toxicity (not unlike Ingmar Bergman’s classic “Scenes from a Marriage”.) Contradictory emotions can coexist in a marriage: warm and playfully tender, or dark and destructive.

The Wife is, first and foremost, about the wife who stands by her man, often as a character alibi: ‘My husband is a good person in spite of what I know.’ But what happens when the secrets twist around like snakes: the talent is not where the husband thinks it should be? And the wife feels compelled to prop him up.

In several scenes Joe and Joan are at gala events to celebrate his reputation as a world-renowned author–at university gatherings, book events, and finally in Stockholm for the Nobel Awards ceremony. An entire unspoken code of power is expressed simply by who’s standing where and who is recognized as worthy of eye contact. The wives make eye contact of their own. At one point when asked the dreaded question –what do you do?–Joan Castleman responds: “I am a king maker.”

Enter Nathaniel Bone (played perfectly by Christian Slater,) an ambitious young writer who wants to dig deep into the enigmatic life of Joe Castleman. He’s done his research and speculates that there is considerable backstory to Joe Castleman’s literary success.   In a series of lengthy flashbacks of the younger Joe and Joan (played by Annie Stark, Glenn Close’s daughter), their early years of marriage promised their lives would be content and fulfilling.  On the other hand, Nathaniel suspects that Joan was a king maker in ways she hasn’t revealed.

The Wife delicately yet powerfully eviscerates the vulnerability of the narcissistic male ego and how it destroys all those nearby. The son suspects he knows the family hellscape.

Glenn Close’s almost supernaturally subtle, superbly self-controlled face in close-up says it all, communicating emotion and intention: resignation, understanding, sacrifice, love, and not-quite imperceptible rage transforming and flickering in and out in mere seconds. This is acting at its finest.

The Wife is one of the best films of 2018 and offers viewers a chance to observe one of the finest performances Glenn Close has ever given.  I predict she will be nominated for an Academy Award for this role.

Note: Currently playing in theaters.

 

The Guernsey Literary and Potato Peel Pie Society

Guernsey Literary and Potato Peel Pie SocietyThe Guernsey Literary and Potato Peel Pie Society   is a Netflix historical drama based on the 2008 historical best-selling novel of the same name by Mary Anne Shaffer and Annie Barrows. Set on the island of Guernsey in the English Channel, a year after the end of the Second World War, we see Julie Ashton (the talented Lily James –Lady Rose in “Downton Abbey”), a London author writing under a male pen name. She yearns for a writing project in her own voice.

Ashton gets a letter from Dawsey Adams, a Guernsey pig farmer, who has a used book with her name and address. Exchanging letters with residents on the island of Guernsey, which endured Nazi occupation, Ashton accepts an invitation to read to the Guernsey Literary and Potato Peel Pie Society, a book club that was actually part of the underground resistance.

Guernsey Literary and Potato Peel Pie Society

Intrigued by how much books mean to this isolated community, how reading kept everyone sane during the war, Ashton decides this book club and its history would be the perfect subject for a London Times article, the writing project of her dreams. But all is not as it seems. There is betrayal, a romance or two, and escape into the world of books for solace.

The original Guernsey novel is completely in a “letters” or epistolary format, mostly letters between Ashton and Adams, so the visual and sense of place is severely lacking. The film’s best moments, on the other hand, provide a keen sense of 1946 island life in a small British community. There is a sense of community after suffering a shared loss during the Nazi occupation.

The Guernsey book club is similar in feel and sense of identity and community as “Downton Abbey”. We see the bravery of the underground as they resisted the Nazis and yet we come to understand the price of war for all involved and the need for forgiveness.

A feel-good movie with three other “Downton Abbey” actors in key roles, The Guernsey Literary and Potato Peel Pie Society is entertaining, although not as engaging as the “Downton Abbey” PBS series.

“BlacKkKlansman”: Part of the American Fabric?

 

BlacKkKlansman movie

A  Spike Lee film about white supremacy, BlacKkKlansman is based on Ron Stallworth’s 2006 memoir, which eviscerates the hideous social structures of racism in the US.

In 1979 Stallworth (played by newcomer, John David Washington, son of Denzel Washington) becomes the first black detective in Colorado Springs’s police department. The police chief warns Stallworth:  “We’ve never had a black police officer. So you’ll be the Jackie Robinson of the Colorado Springs police department.”

Assigned to be an undercover cop at a black power student rally, Stallworth is to gather intelligence in what his boss implies may be a terrorist movement. Stokely Carmichael, Black Panther leader, will be giving a speech.

The rookie police officer is deeply affected as he watches young black college students take pride in what Carmichael is saying. He understands their rhetoric but his superiors are threatened by the Black Panther political movement. Stallworth suggests that the real terrorism stems from the KKK as well as perhaps the Black Panthers. Both are kindling for explosive violence.

With footage from the notorious 1915 film, “The Birth of a Nation”,– a homage to the Ku Klux Klan,– we are pulled into a clandestine operation where Ron’s colleague, Flip Zimmerman (an endearing Adam Driver), goes undercover as the white version of Ron at KKK meetings. Scenes of Flip’s own victimization by Klansman for suspecting he is a Jew triggers the empathy he has for Stallworth’s experience.

John David Washington, Adam Driver

Toward the end of the movie, Spike Lee uses original footage of the horrific scenes of the Unite the Right rally and Heather Heyer’s death in Charlottesville, Virginia, to show that little has changed from the racism of the 70s. BlacKkKlansman’s  terrifying message is loud and clear: What you see is a story taking place in 1979, but this is not only a period piece about those days. That was then but also here now too. Little has changed.

BlacKkKlansman is both a conversation-starter and conversation stopper. It will leave you deeply moved!

 

Note: BlacKkKlansman opened in theaters on the anniversary weekend of Heather Heyer’s death.

 

The Devil’s Backbone–Peter Pan meets “The Shape of Water”

Devil's Backbone

The Devil’s Backbone (2001) (Spanish: El espinazo del diablo), directed and co-written by Guillermo del Toro, was independently produced by Pedro Almodóvar and foreshadows his Academy Award winning “The Shape of Water” (see my March 19, 2018 review).

Set in 1939 during the final year of the Spanish Civil War, we see in the opening scene an orphanage in the middle of a solitary dessert. A deactivated bomb is standing in the courtyard.

An unexpecting twelve- year-old, Carlos, is left by his guardian and almost immediately bullied by two other orphan boys. On a dare to sneak to the kitchen for water, Carlos hears a chilling whisper from an unknown ghost, Santi, appearing as a boy about the same age.

This is a mythic tale of love and revenge, greed, the loss of family, mixed with a potent dose of magical realism del Toro conveys in all of his films (including his masterpiece, “Pan’s Labyrinth”.) Carlos, who fearlessly wants to know the truth, and Santi, whose demise is shrouded in mystery, eventually make a pact. As the war begins closing in on the orphanage, violence and desperation erupt and Santi’s prediction comes true. The abandoned boys must band together if they hope to survive.

Dr. Caseres shows Carlos how the orphanage raises funds: by selling a spiced fluid preserved from deformed aborted or stillborn fetuses that “remedies” many ailments including impotence. The exposed fetuses in fluid are “the devil’s backbone”, an elixir with miraculous power. A visual metaphor illustrating how war entraps, just like insects in amber and fetuses in jars, The Devil’s Backbone exposes the horrors of war and fascism through the lens of fantasy.

This film, after a sagging middle with slow camera movements leading nowhere but to the orphanage basement, eventually evolves into an extraordinary dramatic narrative of tension and dread. It is a coming-of-age story combined with a tale of enormous deception resulting from misjudging human character.

Fantastic cinematography, –some sepia-toned scenes evoking the lighting of a Velasquez painting,– is well-worth viewing on its own merits. The opening underwater sequences will remind the viewer of del Toro’s later cinematic undertaking, “The Shape of Water”. The mark of del Toro is everywhere in evidence. Watching The Devil’s Backbone now within the context of having seen “The Shape of Water” allows a glimpse into the imagination of a very original filmmaker!

 

“20 Feet From Stardom”–Stellar Performers

20 Feet from Stardom

In the wake of the passing of Aretha Franklin, Queen of Soul, 20 Feet from Stardom will resonate more than ever. The mainly female backup singers featured in 20 Feet From Stardom are all daughters of preachers, as was Aretha Franklin, who fine-tuned their extraordinary singing voices in the church choir while very, very young. Director Morgan Neville connects Gospel, Blues, and Soul to these roots of Rock and Roll.

You may not recognize the names or faces of Darlene Love, Lisa Fischer, and Merry Clayton, but you will surely recognize their unforgettable voices. Love has been elected to the Rock and Roll Hall of Fame. Fischer still works as a backup singer, touring with Chris Botti, Sting and The Rolling Stones. However, the heart-stopping climax of the film belongs to Merry Clayton, as we are treated to her mind-blowing performance on the single “Gimme Shelter”. Hearing her raw voice blast out “Rape. Murder. It’s just a shot away” is gut-wrenching.

Twenty Feet from Stardom creates a visual and auditory record of these great soul singers and in the memory of Aretha Franklin, the time to watch this documentary is now. This film is groundbreaking, with the archival footage of performances we have heard but not witnessed. It is a joy to understand the sacrifices that creatives make for the love of their art, even if their dreams are not fulfilled. 20 Feet From Stardom is a documentary about a secret that needs to be told. And unfortunately,  the backup singer is rendered even less significant as music employs advanced recording and sound technology to emulate the gifted backup singer’s voice.

While we see personal frustration, regret, and betrayal we also witness a passion for music and a personal need to share their vocal gift with others. Most importantly perhaps, we understand the underappreciated gift their voices have brought to the music world.  Some of the stars truly recognize the valuable and indispensable contribution these backup singers gave to their success. Interviews with Bruce Springsteen, Bette Midler, Sting, Stevie Wonder, Lou Adler, Chris Botti, and Mick Jagger underscore the music-composing elements these virtuoso singers created . We also see Luther Vandross as a back-up singer to David Bowie and Sheryl Crow, who worked as Michael Jackson’s back-up/lead female. These are the examples of the back-ups who became well known later on. But 20 Feet from Stardom is focused upon those whose dreams did not come true.

My only criticism of 20 Feet from Stardom is structural. The first part of the film repeats the performances and sacrifices of the backup singer’s role. Each of the individual stories is very similar. So each singer’s personal story did not have to be told in such detail that it slows the film almost to a grinding halt.

But be patient. The poignant, fascinating sociological study of the cost of pursuing fame instead of excellence is eye-opening and well worth waiting for the personal reflection on the price of success. This would be a great evening’s watch along side Muscle Shoalssee my July 19, 2015 review  and Searching for Sugarman. Even the fictional Birdman ties into the main theme: neglecting the efforts of the team who supports and holds up the main attraction.

Note: Available to stream on Netflix.

The Tunnel–Seasons 2 and 3

 

The Tunnel Seasons 2 and 3 continue the tension from the first season, with a British and French detective partnership (Karl Roebuck and Elise Wasserman respectively) again working to solve a heinous series of crimes. (See my August 7, 2016 review of season 1: The Tunnel–Turf War or Building Bridges”.) Both season 2 and 3 seamlessly continue the tension, though by different writers and directors.

In Season 2 (“Sabotage”) the main plot is trying to figure out why a commercial airliner was hacked to override the autopilot, crashing in the ocean, killing everyone on board. The crash might be connected to other strange incidents including the abduction of the parents of a five-year-old girl while in the Chunnel.

The Tunnel Season 3

There are many plot twists  and subplots: connecting all the dots and understanding the motivation of each character, including the detective team. The narrative becomes quite convoluted. The sexual lives of Karl Roebuck (the excellent Stephen Dillane from “Game of Thrones) and Elise Wasserman (Fleur Delacour in “Harry Potter”) are revealed to be more complicated than in season 1. A sinister and mysterious mastermind, as well as a chemist who could rival the Nazi Mingele in his experiments, will keep the viewer on edge. No spoiler alerts here, but be prepared for nail-biting terror. Twisted ideologies, revenge, spies, terrorism, “marriage for sale”, sex trafficking, the vulnerability of love and loss, and the insidious nature of high-tech equipment in the hands of malevolent actors all make this second season of “The Tunnel” just as spellbinding as the previous season.

The Tunnel Season 3

Season 3 (“Vengeance”) stands on its own from the previous seasons with again, a new director and writer. In the anti-refugee hysteria of our times, we see the desperation of a mother looking for the  child she gave up decades ago during the war in Croatia.   An escalating refugee crisis and the exiled souls who experienced unspeakable tragedy seek relief from a society which mostly has turned its back.

Playing on the “Pied Piper” who purportedly promised a better life for the children who followed, we see the two intrepid investigators try to make sense of grisly sexualized murders, cyberstalking, a plague of rats echoing the Pied Piper,  and a macabre medieval enactment of murder. There is a subplot of a past cold case that still haunts Elise, also involving a child: missing children, children found, abandoned, troubled, and redeemed overlay the subplots and involve deceit, corruption, and trauma.

All of the disparate strands of this drama come to a tightly woven, shocking climax in the final episode ending this phenomenal three-season thriller. Few hints of what is to come in the finale prepare the viewer for the resolution, part satisfactory and part disconnected.

Highly recommended! And worthy of a repeat viewing, because the plots are so difficult to follow at times.

 

Note: Available on Amazon Prime (first two seasons) and Netflix (all three).