In midsummer 1973

, Annie (Pernilla August) finds two dead bodies in a tent when she, together with her daughter Mia, got lost in the forest on their way to the remote and by the locals frowned upon collective Stjärnberg.

Mother and daughter were supposed to be picked up by Annie's boyfriend, but he never showed up.

In 1991, Annie sees a man she hasn't seen in 18 years through her bedroom window and gets scared.

The man has arrived in a car with her daughter Mia.

Despite the fact that Kerstin Ekman's

novel "Händelser vid vatten" was written 30 years ago, the stories follow two contemporary TV series trends: skillfully interwoven timelines and a suspicious contemporary skeptical collective/sect at the center of events.

Despite the sensitivity to trends, director Mikael Marcimain ("The hunt for a murderer" and "Call girl") has stayed true to the novel's tone and made an unusually quiet crime drama where not every story is a clue and there is no obvious antagonist - because that's not how life is .

The August acting clan

(Pernilla as Annie in 1991, Alba as Mia in 1991 and Asta Kamma as Annie in 1973) all do well as mentally and literally lost Stockholmers in the countryside, but the big star in "Händelser vid vatten" is the composer Matttias Bjäred ("Gentlemen" and "Up to Fight").

The soundtrack - ominous string music with ticking bells and some kind of mouthy - is a cross between Swedish folk music and melancholic western film music.

It goes completely in line with the evocative mood of the series and the characters' hidden motives.

Scenographically,

"Händelser vid vatten" seems to have given itself the task of discouraging viewers from ever going out into nature again, without mystifying it.

The overcast midsummer evening offers claustrophobic forest, annoying screams from peregrine falcons and a myriad of biting insects.

On the downside, the series lingers a bit too long in the 90s at the expense of parts of the character gallery in the 70s timeline, which is the more exciting one.