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Published 16:31 18 Dec 2021 GMT
Updated 12:53 15 Dec 2021 GMT
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Landscapers has been described most aptly as a truly original crime series, which it is.
While it includes the many tropes of the murder drama - the intense interrogation, the grisly deaths, the questions around truths and lies - it also provides something different. A new way of storytelling that isn't liner, and not quite based in reality either.
Written by Ed Sinclair (Colman's husband and fellow actor), the series uses flashbacks, classic Hollywood narrative styles, and a totally fictionalised world to present Susan and Christopher's obsession with each other - and their beloved Hollywood memorabilia.
Breaking the fourth wall is the lower end of the scale when it comes to Landscapers' more experimental elements. Exposed sets, script breaks, and a repeated retelling of certain aspects of the murders present a story that is largely unfinished.
Pieces are missing, the truth is unwhole and Landscapers' shaky style pulls apart all the possibilities and uncomfortable truths that lay at the centre of this tragic and deeply unsettling story.
Incredible performances from Colman and Thewlis (the former of whom is sure to bag an Emmy nod) at times even force sympathy for the couple, particularly Colman's Susan as she wails for her husband in prison and defiantly declares: "I'm not fragile, I'm broken. So you can't hurt me."
The series has been criticised by some for its arguable misremembering of a case that seemingly wasn't all that interesting, and a style that can oftentimes be somewhat confusing and difficult to follow.
It's no surprise that its four episodes - all disjointed and highly stylised as they are - aren't for all audiences, but if you manage to ease into the world, you might just find you're watching something truly brilliant.
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