The Break

Great police series with credible characters. We are absolutely baffled with who is the culprit until the final chapter. The paranoia, passion and despair of the main character are intensely lived. There are also the small pills that provide the very secondary giving a touch of humor that places us in what is a small town. In the second there is a party that reminds us of something that was portrayed in his last work by a teacher. Recommended for a weekend and see it in one go.

I was fortunate to stumble onto this gem via Canadian Netflix, and it was the intense acting talent of protagonist Yoann Peeters (Yoann Blanc) and the family drama subplots - with Yoann's daughter, Camille (Sophie Breyer)) and her immensely watchable friend Zoe Fischer (Sophie Marechal) - that kept me interested in the first season, but Season 2 was an entirely different ballgame. AMAZING. Episode upon episode, Season 2 was like a snake in the grass: I just couldn't predict which way it would turn, and I freaking loved that, of course. The diverse cast and high degree of potential perps ... the extraordinary acting ... the wild party scene Camille's much older artist girlfriend was involved in ... the forest landscapes ... Joann's disintegrating mental health ... contrasting social classes (great portrayal of Dany's trashy home life, with special kudos to Sophia Leboutte, who played his mother, and Noemie Schmidt, who played sister-in-law Sophie Bastin - I believed in these female characters 100%) ... and a main character with what appeared to be honest-to-goodness psoriasis! Great call, too, on using Balthazar songs for the openings. (You can be sure a lot of people "Shazam" those moody theme songs to find who who's behind them).

A few questions though. I'm not sure why there were so many comic(relief) characters; it's over the top (ie: the IT guy, and goofy Tino, and Yoann's hokey/spooky neighbours), and unnecessary. Yeah, I get it that the overall tone is dark, but audiences, methinks, can handle that. Also I got a little weary of Yoann's excessive cold-water-splashing on the face. Really? That often? And in Season 1, does rookie cop character Sebastian Drummer (Guillaume Kerbusch) really need to scowl that much? (After Season 1, all I could think of was how relieved I was I wouldn't have to see that scowl again ...)

Because this was the opposite of most of what I see out of the US, ie: predictable right down to the final words - oh god, Bird Box - and the cast was SO strong, I have to give it a 10.

After trying several series on Netflix that didn't appeal to me, I decided to give the recently added La Trêve ('The Break') a try.

The first episode seemed like an exploration of the characters by the actors and creators, and it felt good. My curiosity was awakened and I looked forward to the next episode.

La Trêve turned out to get better with every episode. The brooding atmosphere and intriguing characters started to crawl under my skin. The main actor - Yoann Blanc - established an admirable performance. His character gets more and more intense as the series progresses. But just about every actor shines in La Trêve.

The story development is gripping, with several plot twists that leave the series relatively unpredictable until the end. I loved the aerial shots of the beautiful Ardennes scenery, adding a sense of mystery to the story. The atmospheric soundtrack really completes the dark, slightly surreal impression of La Trêve.

What I loved most is the dark, fatalistic tone that effectively surfaces more and more throughout the series, giving you an uncanny feeling of inevitable, impending doom as Yoann gets closer to solving the murder case, unveiling the hidden, twisted secrets of several village inhabitants.

If I'd have to say something negative about La Trêve, I'd reluctantly admit that some of the plot twists were a bit far-fetched. But the plot twists also kept the story thrilling. I'm also sad to confess that in my humble opinion, season two could not live up to the excellence of season one.

La Trêve (season one) is a fine example of what is labeled as New Belgian Noir. An interesting, dark blend of elements from Twin Peaks, True Detective and Broadchurch.

Being a fan of Nordic and UK crime dramas, I try, from time to time, to widen my horizons and watch works with similar approach coming from other countries. A couple of times I have also come across Belgian related series and liked them rather lot.

True, they have all been Flemish ones. La trêve is the first one made in Wallonia, thus the basic language in French and the venues are so different from cities like Antwerp or Ghent... As I realised soon that the makers have liked Nordic Noir, I began to share the common feelings very soon, regardless of unknown performers and unvisited areas. The characters seemed realistic, I did not figure out the wrongdoer, the twists were there and not over-sophisticated; it is evident that a small community has its own secrets as well.

Well, the pace was not even as the last episodes started to sum up the events perhaps too hastily, after rather slow progression before, and the parallel psychiatrist interview revealed some moments too soon. Nevertheless, La trêve is a thrilling series, unless you like constant chases and cops having cute appearance and fancy cars...

The similarities are unavoidable. A recently disgraced big-city cop moves to a small town just in time to lead an investigation in a rare murder. With a resentful less-experienced partner he uncovers a lot of uncomfortable secrets about a community in which anyone can be a suspect. But a show doesn't have to be wholly original to be good. Just look at the two separate high-quality adaptations of the Danish series "The Bridge". Besides all a mystery series has to deliver is: an identifiable victim, plenty of suspects, and multiple twists. On these three fronts "La Treve" fully succeeds. Not to mention it does plenty to distinguish itself from that similar BBC series. Surprisingly it has an even darker view of humanity. As the unstable detective pessimistically asserts to his underling "Anyone is capable of murder". A point that is driven home hauntingly by beginning nearly every episode with a different character's nightmare of how they might be involved. Not to mention the fact that the entire series is told in retrospective from a mental hospital, where the main character has found himself following the events of the story. Yoan Peeters was a detective on the rise in Brussels until he got four members of his squad killed when he ordered them into a drug den without waiting for back-up. Like everything else in this series it is much more complicated than it first appears. But with that cloud hanging over his head he returns to his childhood home of Heiderfeld, with his sullen daughter who missed the big city even before she left. He hasn't even reported to work yet when the overwhelmed young detective Sebastian Drummer conscripts him into helping with a just discovered dead body. Most of the force has never dealt with such a situation and they need help. This series makes a better case than most crime shows about how resources and finances dictate the level of police-work. When it looks like this was a suicide the Chief cancels an autopsy, not because he's trying to cover anything up, but because the town can't afford it. The unspoken villain of the series is poverty. Poor economics has forced many in this simple town to succumb to various forms of corruption. The only dependable income for some residents seems to come from strong-arming farmers to sell for the new electric dam or throwing a soccer match to benefit mob gamblers. The latter of which may have contributed to the murder of the preeminent defender of the local club. Seen only in video messages to his family and the aforementioned dream sequences his name was Driss Asani, a drafted prospect from Africa; and as you may have guessed his death doesn't stay ruled a suicide. Yoann's detective acumen finds more than enough evidence of homicide and even more possible suspects. For a quiet rural community it certainly has more than it's share of decidedly modern eccentrics. Peeling away the placid exterior of the community certainly reveals a lot of shady characters that are not eager to share their secrets with the police. But does having something to hide automatically make someone a murderer, as the amphetamine-fueled Yoann too often accuses. Or are they all guilty of feeding a growing monster of corruption that would eventually require a human sacrifice for their collective sins. Yoann's investigation creates much more damage than it ever does justice. It leaves no one unscathed, especially himself. But this unflinching look at the desperate people created by desperate times does prove that his cynical observation was correct. Anyone is capable of murder.