"Kieler Street" begins with the aerial photo of Slusvik, a sleepy rural town on the border between Norway and Sweden. The camera passes from a bright blue sky to a pine forest, then picturesque slate gray houses nestled on the edge of a network of lakes. A guitar sounds quietly on the stage, as if a song was about to begin. Cut, quite violently, interrupted song and general shot, to the rear wheel of a car, then his driver, a man, Jonas, telling car mirror, that he left his wallet behind. Except that there is nobody else in the car. Jonah practices obviously before lying to someone. Related storiesMika Ronkainen, Merja Aakko Discusses "All Sins", Biblical Belt of Finland, LandscapeThe Goteborg Film Festival unveils the complete program of its 42nd edition"The state of happiness" and "the enigma of flatey" to contribute to the dramatic vision of television in GothenburgThis contrast – soporific surface normality versus violence, deception – is omnipresent in the 10-part series. And the violence begins soon and more and more to win. The last dramatic series of Anagram Norway and TV2, distributed by ITV Studios Global EntertainmentIn "Kieler Street", Thorborn Harr ("Vikings", "Stockholm", "Bel Canto") plays Jonas, a bloody criminal who is transferred to the city where the crime rate is the lowest in the Nordic countries. Jonas is happy to be able to wait at the table, driving through the city with his family, his girlfriend Elin, a teacher from the local institute, and his 15-year-old daughter Sofia. But when AA Jon's sponsor Geir deciphered Jonas' cover, Jonas reacted by returning to his former state. "Basically, it's a story about how far people have gone to protect the lives they've chosen," explain his decision makers in a written description. Jonah is willing to use experienced criminal skills and to apply extremely timely criminal measures to protect the non-criminal life he has chosen. It seems there are other people in town. Man needs to govern because he is essentially an animal, explains a student in one of Elin's philosophy courses, summarizing Thomas Hobbes' theory of social contract. Through his arcs, "Kieler Street" asks if this is true. "Kieler Street" is played as a dark thriller about the nature of human essence. Variety talk to Patrik Syversen, the co-author and director of the series, and co-author Jesper Sundnes, as they prepare to bend "Kieler Street" at the Gothenburg Film Festival in late January, where he will take part in Nordisk Film & TV Prize contest for the best writing.Violence is never a solution, said Jonas to his stepdaughter Sophie at the beginning of "Kieler Street". "Being nice is not the answer" retorts a little later. The series unfolds like a debate, driven by the development of the character – can Jonah really change? What kind of person will become Sophie? – on the centenary Thomas Hobbes / John Locke philosophical critique on the essence of human nature. Could you comment? Syversen: In essence, we wanted to tell a story about how people are trying to reduce the complexities of human nature to certain traits in order to make sense of "who" they are. As if there was a clear answer to that. "Kieler Street" speaks of characters who are building a reality for themselves and stick to building instead of introspecting and admitting new changes.Sundnes: He There is definitely a philosophical debate at the heart of history: which characters choose (and try) to be, clashes with their uncontrollable impulses. I guess none of us knows if we have a kernel of definition or not, but we try to tell ourselves that we have some.In your comments, Patrik, you say that "Kieler Street" "deconstructs stereotypes" by overturning the classic expectations of each gender: many of the male characters react to outdated images of domination and masculinity; but some female characters have chosen to use their expectations to their advantage. Could you explain?Syversen: I am very interested in the roles we play and the expectations we feel we should respect. "Kieler Street" is in many ways a deconstruction of classic and dated character traits, while people with dark past try to imitate a "normal life", no matter what it is. So, there is a layer of satire here, where a heteronormative life is the star of many characters because they do not want to stand out too much. Of course, this causes a lot of emotional and existential distress and, over the course of history (and subsequent seasons), our goal is to deconstruct these ideas and return them, where no one is a thing definite .

You are described, Jesper, as an author / actor of comedy, although you have realized and realized another work. Was your role somehow injecting comedy into the show? And how did you split the work with Patrik and the other writer, Stig Frode Henriksen, co-scribe of "Dead Snow"?Sundnes: Comedy is certainly something that I have more experience than theater, but I do not think any of us have ever tried to deliberately inject comedy in "Kieler Street". Comedy is more of a natural element that happens Along the way, we try to create a nuanced representation of the absurdities of life.Syversen: Our individual roles as writers in our constellation have never been so clear because our process is more like a continuous dialogue, where Patrik I continue to try to challenge myself and surprise us. Our writing process is basically all three of us meeting to discuss what would be an interesting arc, episode, or character season, and then Patrik and I will write the essentials of quick physical correspondence writing.This is a great Scandinavian series, produced at Anagram Norway by Anne Kobjørnsen, executive producer of Netflix's first foreign language series, "Lilyhammer", and Ole Marius Araldsen, host of "Eyewitness" and "Maniac", co-star of Intl. Anneke von der Lippe ("Eyewitness") and Nicolai Cleve Broch ("Acquitted"), winner of an Emmy Award. To what extent has it been designed and written with an eye on the international market? Sundnes: There was never any goal of making the series "big" or "international", but we always thought that the themes were universal and that they could apply to any society dominated by the conformities of the middle class.Syversen: Our goal was: take something big concept and base it as much as possible. Make it intimate and relatable, but in a fulfilling world where all the characters will have their moment of glory. In an inhabited world, many characters mingle with the cast. So we found our favorite people and in some cases we even wrote passages for them. Some of them have an international appeal, but this is never the reason they were thrown away.It's interesting to see that even if you are presenting Season 1, you have at least season 2 sketched. Is because the series has always been planned on more than one season, in that the answer to the question of whether people can really change should be explored through more than one person. Or is it also a growing industry need since audiences are simply not willing to wait so long between two seasons?Syversen: We have always planned more than one season and we know where we want to go with the story. As you say, to approach the themes correctly, you have to start small and slowly widen the points of view, and you can not do it in ten episodes without rushing it.Sundnes: It's a slow story, with occasional outbursts of sudden violence, and it takes a certain general rhythm for it to work. We are still waiting for the news of the network for season 2, but we are ready to leave. The time between seasons therefore depends on the forces we have, creators.I think what interests you both is the character. So after Ep. 1, with his shock, you dedicate Ep. 2 to further explore Jonas' attempt to break with his past, how he does it, and his deep desire to do so. Is this one of the things you like in the series, that you have the time to do it, long enough, deep enough?Syversen: It was very important for us to go in the direction of the character after the first episode. The "easy" thing would be to stay true to the predictable plot and paint in numbers, but that would not necessarily have expanded the themes of the story. It has therefore always been deliberate to start with an explosion, then to continue with something discreet and banal, in order to show all the insignificant consequences that a dramatic event can have.Sundnes: A second episode tends to define what are the storytellers really interested in exploring, and our central point is the characters and not the criminal plots.You are the best known, Patrik, for your genre films. Do you think you bring a different directorial style to "Kieler Street", considering his television? Syversen: My last two feature films were independent dramas that play with genre elements, and if I had to choose, that's where my heart lies. I love subverting expectations and I've always considered genres as a tool for telling stories and not as an objective in itself. So I approached "Kieler Street" like my other films: focus on themes, moments of the character and experience subversion, with a style both intimate and cinematic. Andreas Johannessen, our DP, has already made three feature films before this series. It is therefore an extension of our visual language. Being a television does not affect our approach. The story is always in charge of our choices.What are you working on now? Syversen: Jesper and I are constantly discussing ideas for the coming seasons of "Kieler Street". The plans for the episodes are in place and we are ready to rely on this idea.Sundnes: We are also writing a new series for Anagram, as well as the development of new concepts. Subscribe to Newsletters and alerts by e-mail!