Zeneszerző:
Mark BradshawSzereplők:
Elisabeth Moss, Thomas M. Wright, Holly Hunter, Peter Mullan, Michelle Ang, Jacek Koman, David Wenham, Jay Ryan, Cohen Holloway, Lucy Lawless (több)Évad(2) / Epizódok(13)
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Season 1 (2013) - 7 epizódok
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A kínai lány (2017) - 6 epizódok
Tartalmak(1)
Jane Campiontól, a Zongoralecke Oscar-díjas író-rendezőjétől jön ez a Golden Globe-díjas misztikus dráma, melyben olyan sztárok tűnnek fel, mint Elisabeth Moss, Peter Mullan, David Wenham és Holly Hunter. Mikor Tuit, a 12 éves terhes lányt az utolsó pillanatban kimentik, mielőtt beleölhetné magát egy jéghideg Új-Zélandi tóba, a rendőrségre vitt kislányt Robin Griffin (Moss), a közösség szemében kívülállónak számító nyomozónő kérdezi ki. A lány nem hajlandó megindokolni tettét, és mikor nem sokkal később újra eltűnik, Robin egy belterjes és barátságtalan közösség szörnyű titkai között találja magát. (FilmBox)
(több)Recenziók (3)
An intuitive gender detective story that needs to be perceived as a giant film project. The division into parts is very artificial and, due to the structure, which is really governed by emotions rather than by a refined narrative plan, actually tears one away unnecessarily from contemplation. I wouldn't be afraid to talk about earthy magical realism, a kind of Picnic at Hanging Rock for the 21st century. The captivating charisma of deranged characters (Patriarch Matt, the gray mother-guru GJ), a very personal reflection of femininity, masculinity, conception, death... the only thing that fails is the predictable and literal point of the film. But the power of Top of the Lake is in what comes after. A scene woven from the captivating New Zealand landscape, silence, wind and a few loose words. An unforgettable, cruel and increasingly engaging world that reveals how deep the possibilities of current TV series are. [90%]
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A female True Detective. Or isn’t True Detective a male version of Top of the Lake? It’s not just that it has the same cameraman and therefore has the same film-like and really darkly gritting appearance (the presentation of the beauties of New Zealand do not remind one of Lord of the Rings; apart from the fact that it’s all rain and fog and if you get lost you can toss a coin to find out if you’ll die of hunger or exposure). In both it applies that the case itself is of secondary importance (and here this applies a little more, since “who and how" becomes clear in the middle of the first episode). Both play more with symbolism, reading between the lines and the omni-present subliminal tension. In both it applies that when, on occasion, it lowers itself to be literal, it immediately loses a lot of its magic. Both have ambiguous characters, excellently written and played. Both play on a disconcerting string. Both are primarily about the characters, about life and all that... and both are perfect.
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Jane Campion is a star director from New Zealand, and everyone is curious to see what her take on TV crime shows will be. Yet it is disappointing that Top of the Lake has no trace of the imagery of her great works, An Angel at My Table, Piano, The Portrait of a Lady or Bright Star. Yet it still works so well with that extraordinary New Zealand landscape... New Zealand is not just about The Lord of the Rings, Seeker, or Xena anymore.
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