Season 1
Summary
Interesting Austro-German series that belongs to the "border police" subgenre, initiated (and recorded) by El puente (Broen/Bron) and continued by many others (among which Sorjonen could be included). One of the great virtues of Pagan Peak is that its development and its characters are never crystallized in a formula: it is interesting to follow the personal and professional transformation of the leading police couple (an inspector from Bavaria and an inspector from nearby Salzburg) and the evolution of the serial killer and his methods, always with the spectacular setting of the winter landscape of the Bavarian Alps, another central character in the series.
Review
A German detective and an Austrian detective investigate a murder that occurred in the Alps, exactly on the border between Bavaria and Austria.
Pagan Peak (Der Pass, in German) falls within the subgenre of "border police", where a crime or series of crimes occurs in the border area between two countries, forcing the joint intervention of their police forces. This subgenre was started by the Broen/Bron series, which took place on the border between Sweden and Denmark and continued, for example, in the quite successful Floodland, developed between Flemish Belgium and the Netherlands.
In this case, the German detective is Ellie Stocker (Julia Jentsch), a powerful and luminous police chief inspector from Traunstein, a town in Bavaria, and the Austrian inspector, Gedeon Winter (Nicholas Ofczarek), from Salzburg. This, on the other hand, is a dark, skeptical and corrupt character.
Sooner rather than later we will know the identity of the fearsome serial killer (Franz Hartwig). The plot fluently combines certain topics: the alpine legend of Krampus (a sort of evil slope for Santa Claus), relations between the press and the police, cybernetic espionage, right-wing politicians, illegal immigration.
The fact that the legend of Krampus and his masks appear does not make the series an exponent of folk-horror, fortunately, as it does in other series; It is an element that adds to the messianism of the murderer.
One of the great virtues of the series is that its development and its characters never crystallize into a formula: it is interesting to follow the personal and professional transformation of the leading police couple and the evolution of the murderer and his methods. Also the treatment of the temporal lines has its touches of originality.
The Austro-German series displays a foolproof sobriety, with an excellent soundtrack and the extraordinary winter landscape of the Bavarian Alps as another of its great protagonists.
Summary
Interesting Austro-German series that belongs to the "border police" subgenre, initiated (and recorded) by El puente (Broen/Bron) and continued by many others (among which Sorjonen could be included). One of the great virtues of Pagan Peak is that its development and its characters are never crystallized in a formula: it is interesting to follow the personal and professional transformation of the leading police couple (an inspector from Bavaria and an inspector from nearby Salzburg) and the evolution of the serial killer and his methods, always with the spectacular setting of the winter landscape of the Bavarian Alps, another central character in the series.
Review
A German detective and an Austrian detective investigate a murder that occurred in the Alps, exactly on the border between Bavaria and Austria.
Pagan Peak (Der Pass, in German) falls within the subgenre of "border police", where a crime or series of crimes occurs in the border area between two countries, forcing the joint intervention of their police forces. This subgenre was started by the Broen/Bron series, which took place on the border between Sweden and Denmark and continued, for example, in the quite successful Floodland, developed between Flemish Belgium and the Netherlands.
In this case, the German detective is Ellie Stocker (Julia Jentsch), a powerful and luminous police chief inspector from Traunstein, a town in Bavaria, and the Austrian inspector, Gedeon Winter (Nicholas Ofczarek), from Salzburg. This, on the other hand, is a dark, skeptical and corrupt character.
Sooner rather than later we will know the identity of the fearsome serial killer (Franz Hartwig). The plot fluently combines certain topics: the alpine legend of Krampus (a sort of evil slope for Santa Claus), relations between the press and the police, cybernetic espionage, right-wing politicians, illegal immigration.
The fact that the legend of Krampus and his masks appear does not make the series an exponent of folk-horror, fortunately, as it does in other series; It is an element that adds to the messianism of the murderer.
One of the great virtues of the series is that its development and its characters never crystallize into a formula: it is interesting to follow the personal and professional transformation of the leading police couple and the evolution of the murderer and his methods. Also the treatment of the temporal lines has its touches of originality.
The Austro-German series displays a foolproof sobriety, with an excellent soundtrack and the extraordinary winter landscape of the Bavarian Alps as another of its great protagonists.