REVIEW: ‘Land Of Sin’ Is A Surprising, If Slow, Murder Mystery

Land of Sin (Synden) is a Swedish murder-mystery mini-series that follows Dani (Krista Kosonen, Blade Runner 2049), a police officer, as she becomes entangled in the disappearance of a young man she once fostered. As truths come to light, she discovers there’s far more going on than she ever imagined. 

The best way to describe the opening stretch of this story is timid. As the narrative introduces Dani, her life, and the initial phases of the investigation, there is an overwhelming sense of hesitancy in the first two episodes. There are moments when the slow build feels intentional and creates an atmosphere that leaves the viewer intrigued by the tidbits shown early on. However, far more time is spent on quiet car rides or other slow-paced scenes that do little more than fill run time. 

Land of Sin (Synden) starts off slow but eventually layers in interesting elements.

Once Land of Sin gets over its faltering start, it begins to layer elements while generously presenting red herrings that keep the conclusion obfuscated from view. These twists and turns help the story maintain a measure of engagement that it struggles to create through any other means. 

While these unexpected plot moments craft an unpredictable conclusion, they rarely feel impactful in the moment. The production keeps the series’ visual presentation tightly reined in. The drama is rarely amplified beyond what the actors can deliver through their performances. This leaves the story frequently feeling emotional, but not dramatic. Some moments and plot points are less compelling than they might’ve been. 

The strength of this approach is that it imbues Land of Sin with an incredibly realistic feel. By not overplaying moments or dramatizing key scenes like arrests and physical confrontations, the series maintains an incredibly grounded center. Whether it’s worth the cost is subject to taste. 

Land of Sin sets up interesting themes but never delivers on them.

Beyond the whodunit at the core of the series, the narrative also feels like it sets out to explore the themes of family and the loyalty we should hold for those within ours. It “feels like” because the message it was trying to build never reaches the screen.

The presence and significance of family within the tale are nearly omnipresent. However, the final episode of the series muddies the waters about what we are supposed to take away from this aspect of the story. With no clear conclusion present, it’s hard to say what exactly the series’ goal was, where this element is concerned.

Following the cues from the rest of the series’ setup, the acting also delivers a largely restrained approach to its characters. However, several of the performances use these restraints effectively, projecting a strong emotional presence in low-key ways. 

When Dani gets to open up, it’s the most explosive part of the series.

The primary character who gets to really open up and let the emotions pour out in high-note moments is Dani. When Kososen does get the green light to let all the pain and tension release in front of the camera, the effect is excellent. As Dani gets dragged deeper into the quagmire of crime and betrayal that the case leads her on, Kososen balances it all quite well, as she delivers both the subdued and expressive sides of her character. 

Land of Sin delivers a story that compels with its twists and turns, eventually. A slow start makes the opening shaky, and the toned-down approach to drama gives the production a grounded feeling, but at the expense of energy that might have helped offset its muted beginning. There is something here worth experiencing, but a fair amount that falls short as well. 

Land of Sin is streaming now on Netflix.