The injection of a dose of science fiction to the police genre is not enough to bring this miniserie de l’Abell.
We are in 2025. Bercy does not refuse anything to the Ministry of the Interior: police hotels have virtual reality devices which allow them to explore the crime scenes, each detail of which has been scanned by drones intelligent. In one of these dark rooms, at the Brest police station, where he investigates the death of a woman whose body was found on a neighboring beach, Ludovic Beguin (Tomer Sisley), disheveled commander, finds his wife, Mélanie (Camille Claris), missing a quarter of a century earlier in the same place, and yet very alive. The couple defeated by death is taken in an inexplicable (which will remain unexplained until the last episode) tears up time, here called “vortex”, which allows them to establish a link between 1998, a few days before the Death, apparently accidental, of Mélanie, and 2025.
Elsewhere – far from the French public service -, this fantastic postulate could have generated a sentimental melodrama, a comedy of errors, a temporal puzzle made of paradoxes. Vortex may be freed from the rules that govern our universe, it is nonetheless subject to the law which wants fiction to obey the code of criminal procedure, in a society where the majority of the active population is devoted to the maintenance of the order and administration of justice (Mélanie Beguin was an investigating judge).
serial killer
Vortex will therefore be essentially a thriller, and we will see the silhouette of a serial killer appear. The format of the television survey, with its false tracks and its evidences that we press well before the characters, is barely subverted by the interventions of the characters on the course of time. At regular intervals, our hero discovers that his reality has changed following one of the efforts of his wife to escape a destiny which, without surprise, is not so accidental as that. Commander Beguin, to whom Tomer Sisley lends an air of a teenager in turn benki or saddened by the world of big people, then questions his colleagues about their marital status, on the state of the investigation, without these are surprised. Just they suggest that it has early dementia, before the police train resumes its course.
In this constantly recommented police station, romance is struggling to flourish. The temporal traveler policeman is dizzy between the ghost and his second wife, very lively, Parvana (Zineb Triki), between the child of her first marriage and his little boy. This torment is not much more convincing than the strange survey method developed by Commander Beguin. Except – and what will follow discloses – at the end of these six episodes, when a violently tragic conclusion arises, which suggests another version of Vortex, dark, moving, complex rather than complicated.
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