In 1987 the local sheriff received a call that a farmer had let his cows escape. But when he showed up at the farmhouse. He finds three people brutally murdered and a fourth seriously injured. He enters the dungeon and discovers his death, but not before seeing a little girl hidden under the table.
It is filled with tiny figures made of chestnuts.
Today to Copenhagen. Policewoman Naya Tulin (Danica Kercic) has s*x with her boyfriend. But because she doesn’t want her daughter Le (Liva Forsberg) to know about her. He confuses her through the door before she wakes up.
When he goes to work, he tries to get his boss to provide information about his upcoming transfer to the IT department. But he didn’t want him to be a good investigator. He sends her to investigate a new case and connects her with Mark Hess (Mikkel Boe Følsgaard). A Europol agent reluctant to help the local police.
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The victim’s house was relatively quiet. But at a forest playground where the body was handcuffed to a post. He learns that his left arm had been amputated. Hess seemed more interested in selling his apartment than in this case, but he found evidence: a small chestnut man.
Meanwhile, Danish Social Minister Rosa Hartung (Iben Dorner) returns to parliament for the first time since the kidnapping of his daughter Christine (Celine Mortensen) twelve months ago.
Her husband Steen (Esben Dalgaard Andersen) does everything to ensure that daily life for her and her son Gustav (Louis Ness-Schmidt) is as normal as possible. But he was more affected by her death than he could afford. Judging by the sale of the vodka he kept in his car and his dream of finding Christine.
When Rosa goes to work, she learns that her email account has been compromised.
It contains a photo of Christine taken from an Instagram account that was closed after she was kidnapped. There aren’t many clues in the murder case; Tulin questions the victim’s friend. But Hess wonders why evidence suggests the key was changed.
The day before the woman died, which his friend doesn’t know. Forensics later reported back with a fascinating finding: the chestnut print was from Christine.
Even though Tulin’s boss didn’t want him to talk to Hartung, he did. This leads to a possible explanation. But both Tulin and Hess realized that Hartung was in both cases. Especially after talking to the victim’s son at this time.
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During the first episode of The Chestnut Man, based on Søren Sveistrup’s novel. There are times when things go too slow. Too much talk and not enough momentum to reach the goal.
But Sveistrup and his co-creators, Dorte Høgh, David Sandreuter, and Mikkel Serup, feel this is right on the mark. They want to make the audience feel like today’s fall isn’t going anywhere. But then Christine Hartung’s trail appeared, and she steered the show in a direction that piqued the audience’s curiosity.
One of the things that gave it an extra scary factor was the chestnut figurines themselves. So far, we’ve seen so many shows like this where “everyone has a secret” that we wonder. Where “The Chestnut Man” stands out. I’m not sure if it’s a Danish thing, but making little chestnut figurines seems like a weird thing for little kids to do.
But there’s also a link back to what we see in cold weather:
The case happened in 1987. We were sure it would happen somewhere. We just didn’t know where. We know this lack of predictability drives people to listen to Scandi Noir series like this one. Kercic and Folsgaard worked well together, although Hess didn’t seem interested in the case. And Tulin wanted to be anywhere but in the car with this man.
As the mystery deepens, it will be interesting to see how their working relationship changes. We can also try to understand why Hess is still in Copenhagen when her partner is elsewhere. Tulin is so reluctant to make your call to the prey family showcase.
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The Chestnut Man has an exciting mystery and a solid main character. This is an excellent example of why Scandi Noir is such a popular genre.