The Woman of the Dead review: Anna Maria Mühe stands out in this wild and deadly ride

3.5/5

The entire environment of Woman of the Dead is chilling. After all, Blum (Anna Maria Mühe) is described as being fortunate by someone. You don't simply escape the police's grip after committing several murders. And Blum has no intention of slowing down any time soon. She won't stop until those responsible for her husband's accident are eliminated. The same individuals are accountable for horrifying crimes against women as well. Blum's spouse was found laying in the road after getting too close to the truth. Dead. Thus, the story unfolds. 

The most important thing I want to tell you is that keep an eye out for when the accident happens. Suddenly, the car drives into the scene and strikes the husband. Everything happens so suddenly that Blum and you both momentarily freeze. "Death arrives unannounced," the scene would say if it could speak. Blum's husband may have anticipated this situation because of the tender way he gazes at her on the morning of the tragedy. Blum, though, is confused and surprised. No matter the cost, she will uncover the truth.

Blum has a funeral business where she talks to the dead as well as grooms them. Even the dead speak back to her. The first time it occurs, you start to question if it's all in her head or if there is a supernatural component involved. When she kills individuals one by one, this uncertainty seeps into her deeds. In flashbacks, the characters Blum is after can be seen clad in black animal masks. So you wonder if her victims are guilty or if she just believes they are guilty when she starts killing people without any proof. The show is incredibly interesting because of these initial assumptions that you have.

Blum's scenes with her adversaries are fierce and stylishly shot. The scene of her interaction with a photographer is taken with a wobbly camera, and the suspense is increased by avoiding a frequent switch to the next appropriate camera angle. Blum's line of work makes it simple for her to commit crimes. She kills men, then brings their bodies to her workplace. There can be no crime without a body. And since there has been no crime, the men are assumed to be missing.

Blum gets invited to one of those parties since she has a daughter, which we all know won't go well. However, this sequence remains a complete mystery to director Nicolai Rohde and authors Barbara Stepansky, Benito Mueller, and Wolfgang Mueller. They awkwardly end the sequence by making the daughter throw up after sending her to the party. This character is known to be clever. So when she accepts the invitation to the party, it seems a little strange. If you look attentively, you can see an explanation that her choice was motivated by her sadness and a rift with her family. Who wouldn't want to be friends with the popular kids? However, the issue is that these subplots are not explored in a particularly compelling manner.

When Blum neglects to be grateful for those who support her or focus on her children, who also lost their father, she becomes frequently unlikeable. But precisely because of this, she strikes the audience as a real person.

We witness Anna Maria Mühe deliver a powerful and dramatic performance as Blum. She reacts in a way that is both authentic and imperfect, wonderful and dreadful . This Netflix series has a really excellent cast overall. Yousef Sweid from Unorthodox, who plays Reza, a volunteer at the burial home, and Romina Küper were two of my favourites.

The show's initial brisk tempo, nevertheless, rarely holds up over time. While the main plot, continuity, and structure of the show are weak, what it excels at portraying is a messy woman going through loss. Perhaps that explains her mistakes, but the writer maintains that there are other aspects of the character's life that don't fit with the portrayal she has been given.