The Black Forest Murders Review: Beyond Spectacle, Into the Grim Expanse

“The Black Forest Murders” emerges from the shadows of true events, a German crime drama that fixes its gaze upon the grim aftermath of violence. Two young women are extinguished in the rural quietude of the Black Forest, their absence a wound in the landscape.

What follows is not a ballet of brilliant deductions, but the slow, deliberate turning of investigative wheels. The series immediately establishes its somber cadence: a painstaking, almost reverent adherence to the procedural, each step a small shield against the encroaching darkness.

Here, the search for answers is a heavy mantle, worn by those who must walk the path of methodical inquiry where senselessness has left its chaotic trace. The air is thick with the unspoken, the gravity of genuine loss permeating each frame, as the narrative begins its measured descent into the heart of a protracted search.

The Unfolding Labyrinth: Of Time and Traces

A young woman, Stefanie Berghoff, dissolves into the woodland scenery during a run, her vanishing the first stone dropped into still waters, ripples of unease spreading outwards to initiate a sprawling search. The discovery of her body is a grim affirmation, soon compounded by a second, similar stillness found in another young woman.

Are these echoes of the same monstrous act? The narrative resists the allure of swift pronouncements, opting instead for a linear, almost granular depiction of the police effort. Each action is a careful placement of feet on treacherous ground.

The path is strewn with the debris of reality: crime scenes blurred by the well-intentioned chaos of community intervention; the agonizing crawl of forensic science, seeking microscopic certainties from a world of ambiguous materials; the frustrating dissonance of disparate IT systems, a digital Babel hindering the assembly of a coherent picture. Pressure mounts, a silent torment, with each cul-de-sac of inquiry, each necessity to retrace steps over cold ground.

Time in this series is not a mere transition, but a palpable weight, its passage marked by the slow accretion of days, then weeks, then months, the investigation stretching like a shadow under a declining sun. A case from across the Austrian border eventually pierces this stasis, a faint light from a distant source, offering a new, uncertain thread in the vast, tangled tapestry of the search.

Visages in the Gloom: Investigators and the Haunted Collective

At the heart of this meticulous sorrow stand the investigators. Senior Detective Barbara Kramer, a figure returned from the urban sprawl of Berlin to the familiar, now alien, terrain of her youth, carries the air of an outsider. Her professionalism is a shield, her solitude a quiet hum beneath the surface as she navigates local skepticism and the subtle frictions of entrenched ways.

Her persistence is a constant, a refusal to yield to the encroaching despair. Alongside her, Detective Thomas Reidle, rooted in the very soil where the tragedy unfurls, embodies the disquiet of confronting darkness within arm’s reach of home, his work a navigation of familiar faces now cast in the stark light of suspicion.

Their partnership, and indeed the functioning of the broader special commission, is less about pronounced camaraderie and more about shared immersion in the grim task. The series largely eschews deep dives into their private worlds, their lives sketched by the demands of the case, character revealed in the crucible of work. The community itself breathes as a wounded entity: its initial rush to assist a complex gesture, part aid, part unwitting interference.

As the investigation drags, the initial solidarity frays, replaced by a gnawing frustration, the weight of unresolved violence pressing down on the tight-knit enclave. For officers like Reidle, the interrogations become a painful mirror, reflecting the known world back in distorted, unsettling forms. Even supporting figures within the investigative team achieve a quiet resonance, their sustained effort a testament to shared human endeavor in the face of the inexplicable.

The Austere Lens: Veracity Before Spectacle

“The Black Forest Murders” plants its standard firmly in the soil of verisimilitude, its very substance a meditation on the nature of seeking truth. The series champions a stark depiction of police work, focusing on its often unglamorous, repetitive facets: the patient combing of foliage under magnifying lenses, the exhaustive sifting of data streams, the endless procession of interviews, the review of silent, watchful camera footage, the sterile precision of the lab.

There is a principled rejection of sensationalism here; no cathartic epiphanies, no psychological deep dives into the torment of the unseen perpetrator, no lingering, prurient gaze upon the violated dead. Instead, police work is shown as a collective endeavor, a slow chipping away at a monolithic unknown, punctuated by frequent setbacks and the quiet heroism of persistence.

The visual language mirrors this austerity: imagery is often clear, stark, almost ascetic. The auditory landscape is similarly restrained, music used sparingly, allowing the ambient sounds of the investigation—the rustle of files, the murmur of office conversations, the echo in an empty room—to sculpt the atmosphere.

Even the opening titles, with their dissolving, glitching images, seem to hint at the fractured, stumbling journey towards clarity. This stylistic rigor is not merely an aesthetic choice; it draws the viewer into the cold, unadorned reality of the investigators’ world, compelling a confrontation with the raw mechanics of the search.

Through its unvarnished lens, the series offers a quiet commentary on the societal tremors that such acts induce, the human impulse to find patterns, or scapegoats, in the face of the void. What remains is the image of tenacity, a testament to the human need to piece together a narrative from the fragments left behind by chaos.

The Black Forest Murders is a German true crime miniseries that premiered on February 15, 2025, on ARD, with early access available via the ARD Mediathek from February 7. You can watch “The Black Forest Murders” on BBC iPlayer in the UK. The series is also available on SBS On Demand in Australia.

Full Credits

Director: Stefan Krohmer

Writers: Robert Hummel, Martina Mouchot

Producers and Executive Producers: Leon Schömig

Cast: Nina Kunzendorf, Tilman Strauß, Carl Achleitner, Liliane Amuat, Christof Arnold, Veronika Bachfischer, Katja Bürkle, Elmar Gutmann, Atrin Haghdoust, Florian Hertweck, Aliki Hirsch, Torsten Hoffmann, Mira Huber, Dennis Kharazmi, Lara Kimpel, Božidar Kocevski, Alexander Kreuzer, Markus Krojer, Matthias Kupfer, Suzanne Landsfried, Nadine Muller, Susanne Katharina Pemmert, David Richter, Sophia Schober, Julia Staufer, Eva Wittenzellner, Bettina Redlich, Johannes Suhm

Director of Photography (Cinematographer): Ahmed El Nagar

Editors: Eva Schnare

Composer: Stefan Will