Jo Nesbø’s Detective Hole has finally arrived on Netflix – here is Nordic Watchlist’s review of one of Netflix’s most anticipated Nordic series.

After what feels like an eternal wait, Jo Nesbø’s Detective Hole has finally arrived on Netflix. The nine-part series follows the plot of the novel The Devil’s Star, with Harry firmly established as a liability to the Oslo police force and in his personal life. Across the course of the series, we witness him continue to spiral, against the backdrop of a potential serial killer and major police corruption. Despite being evidently brilliant at this job, an increasing number of his colleagues are turning their backs on him. Can he put his demons aside to join the dots on a major crime network? 

Jo Nesbø’s Detective Hole – The Directors 

The series is co-directed by Øystein Karlsen and Anna Zackrisson, who have already given us a plethora of binge-worthy TV series. 

Karlsen has written and directed the likes of DAG, So Long Marianne and Exit and has directed the hit series, Lilyhammer. Zackrisson, meanwhile, was in the director’s chair for The Helicopter Heist, Deliver Me and Snow Angels and was First Assistant Director on Let the Right One In.

Jo Nesbø’s Detective Hole – The Cast

• Harry Hole – Tobias Santelmann (Veronika, The Fortress, The Arctic Convoy) 
• Tom Waaler – Joel Kinnaman (The Killing, Snabba Cash)
• Rakel Faulke – Pia Tjelta (The Fortress, Norsemen) 
• Beate Lønn – Ellen Helinder (Veronika, Beck) 
• Ståle Aune – Jesper Christensen (Flame and Citron, Sentimental Value) 

Jo Nesbø’s Detective Hole – Our Review 

The series opens with the wail of sirens, the crackle of police radio and the whir of a helicopter. The editing is short and sharp; close-ups are sudden. There’s the screech of tyres as Harry and his colleague pursue another car. But Harry – who has had more than his fair share at Restaurant Schrøder – clips a tram and flips his vehicle. From there, we are plunged into a moody black, white and red title sequence with ominous-sounding chords. This is a series that commands you sit up and pay attention. 

As we explore Harry’s Oslo (not the kind they put on tourism campaigns), we see rows of homeless tents, sex workers inspecting passing cars for their next client, sketchy-looking alleyways and graffiti that clearly marks territory. Even the summer sunshine takes on a urine-tinged glow as it seeps and spreads across the city. Karlssen and Zackrisson have kept the colour palette dark – heavy navy, hospital green, muddy brown. Natural daylight only serves to cast a shadow, giving the piece a noir vibe that entirely suits our gruff anti-hero. 

Tobias Santelmann, as Nesbø’s best-selling detective, is absolutely flawless. He really captures the frustrations of the character. We can see how good he is at his job, yet his relapse into alcoholism brings despair. His presence changes an entire room at the police station. His very frame fills the space, and his knowledge is entirely unmatched. Santelmann holds himself tightly; his jaw clenched tightly, and his fists permanently curled.

His interpretation of Harry is one hell-bent on self-destruction. “You have no idea how much it hurts to see you like this,” his boss, Møller, pleads with him. He is obsessive; his apartment is full of empty bottles and police work. His voice is grumbly and his manner direct.

Santelmann shows us a man waking up in cold sweats, traumatised and alone, but also someone who is capable of vulnerability and love. The only time we see him smile is when he is with Rakel. His whole demeanour is softer around her, and we get a glimpse at the man Harry could be if he could shed his demons. Santelmann absolutely nails the role – he is everything you pictured whilst reading the books. 

Playing the antagonist, we have Joel Kinnaman’s Tom Waaler. He is sleek, smooth, the consummate professional. Essentially, he is everything Harry isn’t. We see him at a home in a tower of glass and steel; all tight-fitting polo necks and crisp white shirts. Kinnaman plays Waaler with a flint-hard gaze that penetrates through the screen. His smile is manufactured; corporate. He knows exactly who to network with to further his career. 

Ellen Helinder is also excellent as Beate Lønn, the young officer who has memorised the face of every criminal in Norway and Sweden. Helinder balances vulnerability and conviction very well; it is easy to place faith in her character. Pia Tjelta’s Rakel is gentle but no-nonsense. You can see how much she wants Harry to open up and show love, but her frustration with him regularly bubbles over. She is the stabilising force in his life, and Tjelta and Santelmann’s on-screen chemistry is gorgeous to watch. 

As you might expect for a detective thriller, the tension is incredibly high throughout, and each episode is well-paced. It gets the balance of police procedural work and personal drama perfect. The camera hovers in corridors and in alleyways, as if Harry is being surveilled. We get sweeping overhead shots of Oslo juxtaposed with ground-level tracking shots.

From episode one, you are primed for a binge-watch. There are sinister voice-overs, gang wars and bodies cropping up all over. The violence is quite stark, too. Neither director shies away from showing you close-ups of gunshot wounds or blood-spattered crime scenes. Being submerged in water is a visual motif that runs through the series, suggesting that the truth can only come from deep within. 

Having Nick Cave compose the score for the series seems like a stroke of genius, given Harry’s strong opinions about music. The title sequence is rocky and edgy, whilst throughout the series we have a mix of rock, strings and brass. Songs such as Fever Ray’s If I Had A Heart, The Dead Weather’s So Far From Your Weapon, Susanne Sundfør’s The Brothel and Nick Cave’s own Hand of God are peppered throughout, underlining the action on screen. It’s as if Harry himself picked what we would be listening to. 

This adaptation of Jo Nesbø’s work has been a long time coming, but it is entirely worth the wait as it delivers on every level. It’s well acted, shot, scored and written. Almost every episode ends on a cliffhanger, making it all too easy to hit the “next episode” button.

The various narrative strands are all equally compelling, and the pacing is tight. Every location is exactly as you will have pictured it in the novels, demonstrating the attention to detail this series has been given. Already, Jo Nesbø’s Detective Hole is a strong frontrunner for best TV series of the year … next series, when? 

“Already, Jo Nesbø’s Detective Hole is a strong frontrunner for best TV series of the year … next series, when?“

Detective Hole is out now globally on Netflix – we would to hear what you think, share in the comments below.