andJust in the fifth episode of “Dust Settled”, this is the hardest episode I have seen on TV-precisely because the senseless intrusive violence has not been glorified; here, this extraordinary Danish series is still Stay true to dogmatic realism-a loud noise shocked the guests of the Copenhagen restaurant “Svin” (“pig”, not completely trivial). But this is not the beginning of the terrorist attack. It happened in painful real-time. It was announced with a brief vision from the first episode, like a memory that was led in the wrong direction.
Instead, it was the cute and frightened girl Mary (Viola Martinson) who caused the rattle. She spent her ninth birthday in Sven’s house that night because of her single mother Louis (Fei Lipa Suenson) is a waitress who opened a restaurant by a less sympathetic chef at the time, and the owner Nicolas (Peter Christopherson) had to help. Mary was about to pick up a biscuit in the pantry, stacked the two boxes, and lost her balance.
In the book by Ida Maria Rydén, Dorte W. Høgh and Astrid Øye, this is an amazing idea, not only because a moment later-Mary is now unexpectedly sitting in front of the birthday cake in the restaurant, so in the line of fire-a lot of things are out of balance , But because the drama itself is commented in it (a bit ironic), because the narrative of a series is rarely as cleverly balanced as it is now. Nothing here is narrative.
From the middle class
Ten episodes spent a lot of time and energy, depicting daily life in society. This is an easy world to live in. I also know loneliness, lack of money, broken relationships and hardships in career. The violence in the fifth episode does not deny what is said, but promotes it from self-sufficiency, as if the panorama from then on is balanced on the tip of the nail, ready to lean to one side at any time-it was dark at first. However, the forces of opposition gradually increased. The makers of the series are only interested in the horrible hinge function, which is about the victims, including those who only wandered among the dead looking for their relatives after the attack. It is beneficial to abandon any criminal-centric approach. There is indeed determination, motivation and prejudice (Islamism? Rampage? Right-wing terror?), but this dimension has never appeared.
Rather, it tells about the living conditions of the eight protagonists and their relatives before and after the attack, which is so interesting that it is overwhelming. Great actors played a role, as did the fierce directors of Milad Alami, Ilam Hack and Janet Nodal. We see and believe how closely these biographies are intertwined in a habitat like Copenhagen. Rydén and Høgh stated at the Cologne Film Festival last fall that the idea of a terrorist attack was later added to this butterfly effect plot: as the biggest impact on normal conditions. “When the Silence Comes” is one of the most honest, relevant and watched series of the past few years, with a staggering 42% market share in Denmark.
