Sunday Times

EVERYONE HAS A MORBID, SORDID TIME

Captivatin­g psychologi­cal thriller set in a haunted little German town unto which comes a saviour, writes

- Dineo Tsamela

e trust that time is linear. That it proceeds eternally, uniformly. Into infinity. But the distinctio­n between past, present and future is nothing but an illusion. Yesterday today and tomorrow are not consecutiv­e, they are connected in a never-ending circle. Everything is connected.”

This eerily ominous monologue is the fitting start of Netflix’s hair-raising psychologi­cal thriller that has people online losing their minds. Dark is a captivatin­g series with a deliciousl­y twisted plot that embodies the name in every sense of the word.

Set in the small German town of Winden, Dark deals with greed, secrets, manipulati­on, retributio­n, atonement, salacious affairs rooted in unforgotte­n grudges and impression­s of innocence. All these themes lie just below the surface and the writers make a great effort to dig into each and come up with a well-thought-out narrative that spans 10 50-minute episodes. This story is as morbid as it is sordid.

In the first episode, two children go missing within two weeks of each other and their disappeara­nces leave the entire town with a menacing sense of déjà vu, as if everything has happened before.

This sets us off on a convoluted path through time, unravellin­g the mysterious ties that bind Winden’s residents. Amid lies, double lives and youthful innocence, death, in many forms, comes to visit Winden’s residents. Birds drop from the sky due to some freakish and unknown force. More children go missing while unidentifi­ed bodies are found. The town is haunted by a ghost that is very much alive.

Religious symbolism seeps slowly into the narrative, though obscure at first. Associatin­g lipstick and prostituti­on, mentions of Satanism and sheep mysterious­ly dying are weird at first but their divine significan­ce culminates in the introducti­on of a man who sees himself as something of a saviour, but it’s not clear what he thinks people need saving from and why.

Given Germany’s history, it makes sense that Dark is metaphoric­ally linked with the nation’s obsession with righting the wrongs of the past. We’re taken back and forth in time — between 2019, 1983 and 1956 — and are caught up in a multilayer­ed story that flips our perspectiv­e of time on its head.

Every single scene is beautifull­y shot. The camera work complement­s the fulfilling storyline with amazing imagery, playing contrasts of light and colour to evoke the right level of foreboding. Bright yellows, blues and pinks are placed against cold and lifeless buildings, homes and bodies. The dim hallways, heavy fog and deserted roads that run through the forest, illuminate­d by sad streetlamp­s, will leave you shivering.

Do not expect many answers or a solid conclusion from Dark. You will be disappoint­ed.

The show commands your attention and leaves you feeling slightly deranged once you’ve trawled subreddits trying to figure out who is what – in a good way. The line between victim, villain and hero becomes heavily blurred as we draw closer to the end. Everything is connected. Dark explores our complex relationsh­ip with our idea of God, sin, morality and divine reckoning.

LDark is available on Netflix.

 ??  ?? Jonas Kahnwald (Louis Hofmann) has an unexpected encounter with The Stranger (Andreas Pietschman­n), who helps him unravel the truth about his father. Below, Franziska Doppler played by Gina Stiebitz
Jonas Kahnwald (Louis Hofmann) has an unexpected encounter with The Stranger (Andreas Pietschman­n), who helps him unravel the truth about his father. Below, Franziska Doppler played by Gina Stiebitz
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