All the while, debut novelist Sten is counterpointing their adventures with a series of flashbacks to 1959, bringing Silvertjärn closer and closer to the brink of annihilation.Ī memorably creepy newcomer to the crowded field of Nordic noir that’s worth a miniseries itself.Īre we not men? We are-well, ask Bigfoot, as Brooks does in this delightful yarn, following on his bestseller World War Z (2006).Ī zombie apocalypse is one thing. Someone sets the crew’s vans on fire, and Alice’s college friend Emmy Abrahamsson, cameraman Robert, and financial backer Max eye each other warily even as they agree that the culprit must have been someone else.

Co-producer Tone Grimelund sprains her ankle while she’s exploring one of the deserted houses and then disappears herself. The infant, adopted long ago by a couple who raised her as Hélène Grimelund, knew nothing about the fate of her birthplace, but now Alice, who’s fought through poverty, temp jobs, and clinical depression, is resolved that “ The Lost Village is my ticket out of all that.” Things go badly from the beginning. In the years since, there have been remarkably few clues. Alice Lindstedt has been haunted all her life by the mystery of the vanished citizens, whose numbers included her grandmother, retired nurse Margareta, and most of her relatives. The next day, its population was down to two: Birgitta Lidman, bound to a post and stoned to death in the town square, and a baby girl left in a schoolroom. One day in 1959, Silvertjärn was a mining village of 887 inhabitants. An aspiring TV producer and her skeletal crew of four head deep into the Swedish hinterland to make an underfunded documentary series about a village that vanished overnight 60 years ago.

Camilla sten the lost village