“The Chestnut Man: Hide and Seek” is a Serviceably Grim Nordic Noir Thriller

No one commits murder as dark and brutal as the Scandinavians. The growing popularity of Nordic noir is proof enough of this fact, as audiences of all stripes continue to embrace the twisted, cold genre, known for flawed protagonists, dynamic visuals, bleak subject matter, and slow-burning storytelling. Often much darker than your average crime thriller, these stories tend to have familiar beats peppered with relentless violence and complex supporting characters. Netflix’s “The Chestnut Man” is one of the latest examples of this phenomenon, a Danish thriller from 2021 that follows the investigation of a series of serial murders, all marked by the inclusion of a disturbing image of a chestnut next to various mutilated corpses.

Now, five years later, Netflix returns to the source of Nordic noir with “The Chestnut Man: Hide and Seek”. The independent sequel based on another book by author Søren Sveistrup, perhaps best known as the creator of the world-famous drama “The Killing,” is a follow-up that ticks many of the same narrative boxes that made its predecessor so successful, and even cripples its name for some brand awareness. Technically, viewers don’t even need to have seen the original to enjoy this installment. (Although, it’s good if you have one.)

The six-episode series reunites the unlikely couple of veteran Copenhagen detective Naia Thulin (Danica Curcic) and Europol consultant Mark Hess (Mikkel Boe Følsgaard) for an entirely new investigation. The couple’s pre-existing emotional connection is the show’s only real link to its predecessor, but “Hide and Seek” adds a new context by confirming that the two attempted a romantic relationship during the multi-year gap between the two seasons, and their subsequent separation (and off-screen) left a lot of unresolved conflict between them.

“Hide and Seek” begins in 1992, as a short introduction follows a bus full of school children on a nature field trip who discover a body in the swamps. The show is not at all secretive about the fact that this case will play into the biggest mystery of the season; the first of several of the elements of the formula appears in all of its episodes. In present-day Copenhagen, Thulin and Hess are thrown together to solve a case involving a woman named Zara Solack (Elisha Lack) who was found murdered after being stalked and tortured by a mysterious person who sent her creepy texts containing nursery rhyme-esque lyrics about counting, with extreme levels of sleaze. But when it turns out that Zara isn’t the only person who found such documents, Thulin and Hess will have to find a way to work together again to find and stop the 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 find justice for his murder, he continues to dig into the past: Using Emma’s laptop, he reconnects with his friends, and shares with his lover any details he may have kept from her about his private life. No one who has seen the original “Chestnut Man” (or almost any related show in this genre) will be surprised when the evidence finally suggests that Emma’s cold case and the ongoing murder of today are somehow connected, but the creators Dorte W. Høgh and Emilie Lebech Kaae are able to weave these two seemingly separate programs in a satisfying way. (And that’s a lot less than the latest series to call in its opening kill.)

As a framing device, the repulsive counter rhyme does not provide indeed as compelling a hook or as creepy as the disturbing chestnut illustrations that filled the show’s first season. (Whether this is because the song is inconvenient or truly bad is a judgment best left to the discretion of the viewer.) Nothing about the central mystery of “Hide and Seek” feels very authentic in its delivery or story, and there are times when its slow-burn narrative style can feel awkward. But for those who enjoy the Nordic noir genre’s familiar themes and plot beats, this is a solid example of its many strengths.

The series has a dramatic atmosphere, boasting moody visuals, muted colors, and a general claustrophobic feel. It’s by no means a horror drama – there’s plenty of violence, death, and brutal execution – but it’s intense and beautifully shot. It tackles an often difficult subject without voicing its worst aspects. And there are a few big surprises, including a surprising mid-season twist that completely fixes a lot of the story in unexpected ways, and a final reveal that’s more telegraphed than its predecessor’s ending.

Thulin and Hess’ partnership remains compelling despite their interpersonal issues, and the chemistry between Curcic and Følsgaard powers many of the season’s first episodes, especially as the yet-to-separate pieces of the show’s biggest mystery come into focus. Fans who watched the original “The Chestnut Man” may find themselves annoyed that the franchise actually skipped the main beats of the two’s romantic relationship, but their unresolved personal issues are a major burden in many of their investigations.

Curcic makes for a smart and capable lead, but Følsgaard is stuck with the unenviable task of trying to make Hess’ commitment stories seem interesting, a task he doesn’t always succeed in. (Apparently Hess just left the country and was ghosted by Naia after dating for six months? Boo the man.) Among the supporting cast, Gråbøl stands out as the heartbroken Marie, torn between her desire for justice and her need to be there for her surviving children. Ester Birch is also excellent as Thulin’s now much older daughter, Le, who is upset that Hess has abandoned her and her mother.

At the end of the day, “The Chestnut Man: Hide and Seek” isn’t exactly a series that reinvents the wheel in the world of crime dramas. But, in many ways, its formulaic nature is part of its appeal, and its solid performance makes for a fun enough ride. (Once you’ve got the counting rhyme in your head, at least.)

All six episodes were screened for review. It premieres May 7 on Netflix.