Every time she listens at the door, Ragna risks her life.

Every time she talks to her boss on the phone for thirty seconds, she could be exposed.

And every time her right-wing extremist friends fantasize about a “new Europe”, she thinks of her little sister, who was killed by the mass murderer Anders Breivik ten years ago on the island of Utøya.

Kim Maurus

Volunteer.

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Ragna (Ine Marie Wilmann) is a film character. The real horror that reached Norway on July 22, 2011 is inscribed in the country's collective memory. The makers of "Furia", a Norwegian-German coproduction by Monster Scripted, X Films Creative Pool, Nordic Entertainment Group and ZDF, anchor the attacks on Utøya in their history - and give horror a sequel that one can only hope for, that it remains fiction.

However, everything seems possible after six hours of television because the four-part series cleverly deals with its characters and locations.

Ragna, an agent of the Norwegian secret service, has infiltrated a right-wing extremist cell in the remote Norwegian town of Vestvik, which is planning a "big deal".

She has been running the right-wing extremist blog “Furia” for years, which attracted the attention of the secret service's central backer, “Cato”.

He invited her to Vestvik, but Ragna has never seen the ominous puller.

Ole (Preben Hodneland), leader of the cell, seems to be the only one who has direct contact with him.

Without a love story and inconsequential conversations

For Ragna, it is not just a question of saving Europe from a major terrorist attack, but also of personal revenge for her slain sister. At first, she gets in the way Asgeir (Pål Sverre Hagen), a former police officer in a special unit who is on the run from a Russian mafia boss and tries to start a new life in Vestvik together with his seven-year-old daughter Michelle (Isabella Beatrice Lunda). Since both are dependent on not being exposed, an unofficial cooperation develops, which leads them via Oslo to Germany, all the way to the department for combating terrorism of the German interior ministry. In Berlin, the federal elections will take place in a few weeks, in which Ole's cell has a particular interest.

Of course, such narratives always seem somewhat constructed, but in this case not too much, even if it seems that way at first.

Some conversations emphasize the dilemma Ragna is in a little too aggressively, for example when Asgeir asks her indignantly whether she has ever thought about the fact that her blog, although fake, incites people.

Ragna then says theatrically: “Yes, every day” and has to swallow a little.

Elsewhere, however, the main author Gjermund Stenberg Eriksen succeeds in expressing the ludicrous overcoming of Ragna to do her job in a more subtle and better way.

The grip on her sister's chain that she always wears, the only remnant from her previous life.

The hated sex to gain trust and information.

The supposedly spontaneous shot from a pistol that seems inevitable.

Who is good, who is bad?

The positive thing about this story, as far as one would like to use this word with all the violence shown, is that a hasty love story and inconsequential conversations are absent.

Instead, the directors Magnus Martens and Lars Kraume put some details in front of the camera, only to then declare them null and void.

These false leads are confusing: who is good, who is bad?

Who reveals who, who knows what?

And what is conspiracy, what is true?

All these questions determine the arc of tension until shortly before the end.

ZDF succeeds in creating a thriller that, despite its complexity, has a clear appeal: political radicalization begins with words and leads to murderous acts, regardless of whether it is about right-wing extremism or Islamism. The excessive demands of the authorities, the perfidious methods of terror, the ignorance of the unsympathetic interior minister, who in the end stands there as a broken man without knowing who his enemy is: all of this is part of the story that is consistently built up and then, as in Series finals often come to an abrupt end.

Although the characters have personal histories, you don't really get close to them.

What would be disturbing elsewhere can be used here as a stylistic device.

Everyone plays a role in the terrorist system that has a goal with no concrete idea of ​​the consequences.

Only the crazy idea counts, never the people.

Ole and his cell, the size of which only becomes apparent over time, want to do everything differently from what they consider to be idiotic Nazis in combat boots.

That someone like Ole, who tramples on human dignity, reflects himself in a weird way, occasionally sits calmly in cafes and comforts his niece on the phone - that is just one of the unsettling insights of this TV narrative, which is well worth seeing.

The first episode of

Furia

runs on Sunday at 10:15 p.m. on ZDF.