inköping is a tranquil city in Sweden where the beauty of nature meets the serenity of Scandinavian living. Surrounded by beautiful forests, serene lakes and softly running canals, it is an ideal refuge for a nature lover. The city’s well-kept parks and surrounding natural reserves offer breathtaking scenery, perfect for leisurely walks and solitary thoughts. Yet, the snowy morning of October 19, 2004, was covered in blood.

Netflix’s The Breakthrough is a testament to the power of patience and innovation in the pursuit of justice. The four-episode Swedish crime drama, directed by Lisa Siwe, takes viewers on a harrowing journey through the investigation of a double murder that haunted the city for 16 years. Based on a true story, the series portrays meticulous police work with cutting-edge forensic techniques to unravel one of Sweden’s most infamous unsolved cases.

The plot revolves around the savage stabbings of eight-year-old Mohammed Ammouri and 56-year-old Anna-Lena Svensson in 2004. The opening sequence, which depicts the killings in graphic and heartbreaking detail, establishes the tone for a story rich in sorrow and endurance. Mohammed, fondly known as Adnan in the dramatisation, is attacked on his way to school. Anna-Lena, also known as Gunilla, is an innocent spectator who tragically loses her life when she attempts to prevent this murder. The killings send shockwaves across the neighbourhood, creating scars that would not heal readily.

Detective John Sundin, portrayed with stoic intensity by Peter Eggers, is tasked with leading the investigation. Sundin’s initial confidence in a swift resolution gives way to years of frustration as the case turns cold. Despite collecting DNA evidence and narrowing the suspect pool to males aged 15 to 30 likely with a psychiatric condition; the police face an agonising lack of leads.

Sundin’s journey is one of relentless determination. It is also deeply human. His promises to the victims’ families weigh heavily on him. His all-consuming quest for justice fractures his own family life.

The portrayal of time in the series is a masterstroke. Time drags painfully as the investigation stalls, each passing year amplifying the grief of the victims’ families and the guilt of the investigators. Yet, time eventually becomes an ally as technological advancements breathe new life into the case.

The arrival of genealogist Per Skogvist, portrayed by Mattias Nordkvist, in 2020 marks a pivotal moment. Using innovative DNA analysis techniques, similar to those that helped identify the Golden State Killer in the United States, Skogvist constructs an extensive family tree that leads to the identification of the killer.

The show’s investigation of forensic advances is both interesting and terrifying. The tale emphasises the ethical challenges for modern police, notably the use of volunteer DNA samples. While privacy issues and GDPR regulations are also briefly mentioned, The Breakthrough stays focused on the human element. The technology is only a tool. It is the determination of people like Sundin and Skogvist that will eventually deliver justice to the victims.

This is crime television at its finest: intelligent, respectful and deeply moving.

Lisa Siwe’s direction is a triumph of restraint and empathy. The series avoids sensationalism, treating its subject matter with the gravity it deserves. The cinematography, with its muted tones and deliberate pacing, mirrors the bleakness of the story. The tension is palpable, particularly in scenes where a key eyewitness struggles to recall the killer’s face. The police resort to unconventional methods to unlock her memories, adding an extra layer of psychological complexity.

What sets The Breakthrough apart from other true-crime dramas is its refusal to vilify. The show’s empathy extends to all its characters, even those who might traditionally be cast as antagonists. The journalist covering the case, initially depicted as a nuisance to the investigation, evolves into a crucial ally. This nuanced storytelling ensures that the series never feels exploitative. Instead, it honours the victims while providing a thoughtful critique of the criminal justice system.

The emotional depth of the drama is enhanced by its focus on the victims’ relatives. Adnan’s sister Maya, played by Pevin Hannah Namek Sali, gives a heartbreaking performance that encapsulates the everlasting grief of bereavement. Her depiction serves as a reminder that behind every story are real individuals whose lives have been irreversibly altered.

When the case finally reaches its conclusion, it is as much a victory for humanity as it is for justice. Daniel Nyqvist, the man responsible for the murders, is apprehended and sentenced to psychiatric care. The resolution is neither triumphant nor cathartic. Instead, it is a somber acknowledgment of the damage done and the lives forever altered. Yet, there is a quiet satisfaction in knowing that the promises made by Sundin all those years ago have been fulfilled.

The Breakthrough is more than a criminal thriller; it is a reflection on the passage of time and the human spirit’s endurance. Its four-episode runtime betrays its complexity. Each moment is meticulously crafted and the series requires the viewer’s undivided attention. It’s a narrative of perseverance, innovation and, above all, empathy.

For fans of Scandinavian noir, The Breakthrough offers the genre’s signature elements: a brooding atmosphere, morally complex characters and a meticulous narrative. Yet, it transcends the genre by focusing on the humanity at its core. This is not a tale of good versus evil; it is a story of people—flawed, determined and deeply human—working tirelessly to make sense of the senseless.

The Breakthrough achieves what few true crime dramas can. It tells a tragic story without sensationalism, celebrates the advancements of science without diminishing the power of human effort and delivers a resolution that, while far from happy, feels profoundly right. This is crime television at its finest: intelligent, respectful and deeply moving.

Combining cerebral appeal of forensic science with the emotional weight of human drama, The Breakthrough will make for an unmissable addition to any watch list.

The writer has a degree in psychology with a minor in mass communication. She can be reached at ukmaryam2@gmail.com