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‘The Red time of year is coming.’ 

There’s been an American/Mexican version, a British/French version, a Russian/Estonian version and even a Singapore/Malaysian take on the Danish/Swedish original. So, just when you think nothing more can be done with the format of The Bridge, along comes the German/Austrian interpretation – Der Pass – to change your mind.

Following the initial beats of the others, a body is found on the border of two countries (up on a mountain pass in the Alps to be precise) and therefore falls under the jurisdiction of both, meaning officers from each force have to work together. This time, however, it looks to be a ritual sacrifice – and could be a career-defining case for German detective Ellie Stocker (Julia Jentsch). Unfortunately, fate has thrown drug-taking, chain-smoking, alcoholic Austrian Gedeon Winter (Nicholas Ofczarek) into the mix, a cop who looks like he’s just rolled out of a skip and at first wants nothing to do with any of it.

As more murders occur, committed by a man in a creepy mask – and links to the legend of The Krampus (he of horror movies and Inside No. 9 fame) are found – Winter is drawn back in and the pair realise then need each other to stop the killings… before they escalate any further. Will they be able to put aside their differences for the sake of the common good?

More so than any of the other versions, the differences between the two types of policing are highlighted in Der Pass – Germans being more ‘by the book’ and the Austrians coming at things from a more laid back, yet emotional perspective (you’ll see Winter rant a lot in this, which he’s very good at). And, although there are red herrings tossed in early on, like The Fall this one focusses as much on the killer as it does the cops. In fact all their private lives are just as fascinating as the procedural stuff itself, especially Ellie’s affair with a senior officer and her relationship with her father, and Winter’s links to organised crime plus his dysfunctional relationship with his mother. This might make you think there aren’t going to be any twists, but you’d be wrong. Actually the finale is the most shocking I’ve seen since the end of The Tunnel season three.

What makes this format so unique and enduring is the very different way it’s been tackled every time. All of the series have their strengths and weaknesses – but none of them are ever less than gripping. Here, for instance, the mythology of the area is drawn upon heavily, and you’d have to be blind not to notice the huge nods to Little Red Riding Hood. Produced by Academy Award-winning Max Wiedemann and Quirin Berg (The Lives of Others), this eight-parter will have you on the edge of your seat.

Verdict: ‘Sometimes you have to accept things as they are, and turn them into something new.’  8/10

Paul Kane                

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