A few noteworthy things this week: it’s the series finale of the brilliant Fargo (well worth a watch) and In The Dark, while there’s an intriguing-sounding Israeli series, False Flag, starting up on FOX UK. Elsewhere, Top Of The Lake: China Girl, Dicte and I Know Who You Are continue. Enjoy!
This fantastic, helter-skelter series continued with two more episodes tonight, once again taking us down new avenues of enquiry, presenting new suspects and uncovering yet more layers of familial intrigue and hidden character layers. In fact, that seems to be the main theme of this series – identity, and how it shifts and changes after an experience, whether traumatic or not. Make no mistake, the deeper we go into I Know Who You Are, the more we realise that everyone has their secrets. It’s just a case of how well they can suppress them.
NB: Spoilers inside
BBC4’s Spanish thriller I Know Who You Are is a sensational helter-skelter thrill ride of a series and, as we’re approaching episodes five and six, we’re still none the wiser as to whether lawyer Juan Elías is suffering from amnesia or not or whether he has murdered his niece, Ana Saura. The series – Sé Quién Eres in its native tongue – has fluctuated wildly and from one twist to the next, and in among all the characters and wildness is Eva Dúran, a young lawyer on the hunt for the truth (the fact Elías is a former tutor and lover has complicated things somewhat). Thirty-year-old Aida Folch – who started her acting and modelling career as young as 14 – is superb as the passionate, conflicted Dúran and I managed to have a chat with her about the show and the role. As you would imagine, she was charming and full of insight.
We’ve had some heavyweight crime offerings this year – Broadchurch, Twin Peaks, Fargo et al – but perhaps the most eagerly awaited returning crime drama in this house is Jane Campion’s Top Of The Lake, now subtitled China Girl for its second series. Series one was just utterly wonderful – a dream-like procedural the likes of which we’ve never seen before. Elisabeth Moss (who’s been doing some tremendous work recently) returns as Robin Griffin, the Australian detective, who has now returned to her home city, where the body of an Asian sex worker is waiting for her. Judging by this series opener, it’s great to have it back.
Up until now, we’ve had more or less a bit of everything in this series – the sublime (a lot of that), some unevenness and a bit of the ridiculous. With the end fast approaching there’s a lot to be tied up, but this penultimate episode felt melancholy and reflective in mood and tone; the narrative pyrotechnics that have exploded regularly throughout dialled back to focus on characters and their interactions. Characters were circling and taking stock, trying to understand their place in this world and what it all means. As Gloria Burgle ruminated: “You think the world means something, and then it means something else.”
You get the sense that the BBC is testing the water a bit with In The Dark, the four-part series that adapts two of Mark Billingham’s crime novels. MyAnna Buring was excellent as DI Helen Weeks in the first two-part story, and I do wonder if Weeks could form the basis for a new longish-running series featuring a new female protagonist. It’s an option for sure, and in the first two episodes, Weeks (and Buring) revealed herself to be a flawed, no-nonsense detective with likeable traits.
NB: Spoilers inside
In part 11, we were back in Twin Peaks for perhaps longer than we have been in a while. In fact, we seem to be spending more time in the town as each episode goes by, which suggests that all scattered characters and identities will eventually make their way back somehow and there will be some sort of denouement in the town at some point. Although let’s face it, trying to predict anything in this series is such a futile exercise. I’ve said it before and I’ll said it again, every time you think you know what might happen does the rug is well and truly pulled beneath you. And this is one of the reasons why it’s so watchable: you tune in desperate to see Good Coop emerge from his catatonic Dougie Jones state only to see teases of his old self.