A Series Squeezed Into a Feature Frame

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MOVIE REVIEW
Special Unit – The First Murder (Rejseholdet – Det første mord)
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Genre: Crime, Drama, Mystery
Year Released: 2025, 2026
Runtime: 2h 7m
Director(s): Christoffer Boe
Writer(s): Lasse Kyed Rasmussen, Christoffer Boe, Jacob Jonia
Cast: Alex Høgh Andersen, Mathilde Arcel, Nicolaj Kopernikus, Katrine Greis-Rosenthal, Mille Hoffmeyer Lehfeldt, Kristian Halken, Lars Ranthe
Where to Watch: shown at the 2026 International Film Festival Rotterdam

RAVING REVIEW: How do you dramatize the birth of a police force while confronting the corruption it was created to challenge? SPECIAL UNIT – THE FIRST MURDER tackles that question head-on, positioning itself not simply as a period crime thriller but as a foundational myth shaped by compromise, ambition, and institutional rot. Christoffer Boe’s reimagining of Rejseholdet’s (an actual elite police unit in Denmark tasked with assisting local police in solving serious, complex crimes across the country) origins isn’t concerned with nostalgia or comfort; it’s about the uneasy reality of power forming under pressure.

Set in 1927 Denmark, the film follows Otto Himmelstrup, an ambitious officer tasked with leading the newly established special investigations unit. Their first case, a murder in the coastal town of Esbjerg, quickly expands beyond local crime into a web of political and commercial interests that have no intention of being exposed. From the outset, the film frames this investigation as a confrontation between idealism and entrenched authority rather than a straightforward whodunit.

Boe’s direction leans heavily into atmosphere, and largely to the film’s benefit. The setting as a period between wars is rendered with confidence and restraint, avoiding romanticized period excess in favor of something colder and more imposing. Shadowed interiors and a deliberate visual severity reinforce the idea that power here is something inherited and protected, not earned. The film understands that corruption doesn’t need to be exhibited to be threatening; it thrives quietly, behind closed doors.

Alex Høgh Andersen brings intensity and a physical presence to Otto Himmelstrup, portraying him as a man driven by purpose but not yet hardened by experience. While the character is often defined by determination, that rigidity feels intentional and never limiting. Otto is less a fully formed hero than a figure being shaped in real time, forced to learn what compromise looks like when ideals collide with reality. The performance holds the film’s center even when the narrative grows to incorporate the rest of the chaos.

The supporting cast adds welcome depth. Nicolaj Kopernikus and Lars Ranthe, in particular, ground the story with performances that suggest long histories within the system. Their presence reinforces the film’s generational tension; this isn’t simply about solving a case but about whether new structures can meaningfully disrupt old ones. Katrine Greis-Rosenthal and Mathilde Arcel contribute emotional clarity in a story otherwise dominated by institutional dynamics.

Unlike traditional procedural thrillers, SPECIAL UNIT – THE FIRST MURDER places less emphasis on twists and more on the mechanics of power. The investigation unfolds methodically, sometimes deliberately so, prioritizing context over a push forward for its own sake. This approach won’t satisfy viewers looking for constant escalation, but it aligns with the film’s clear and intended focus. The crime matters less than what it exposes.

At just over two hours, the story occasionally feels like the first chapter of a larger narrative rather than a fully contained arc. Certain subplots hint at a larger story with great ambitions, but they remain underdeveloped. These excesses stem from confidence rather than confusion. Boe clearly knows the story he wants to tell; the issue is fitting it into a feature-length framework.

What ultimately elevates SPECIAL UNIT – THE FIRST MURDER is its clarity of purpose. It understands Rejseholdet not as a symbol of order but as an experiment born out of understood necessity. The film’s critique of elite impunity and systemic corruption lands, especially in its portrayal of resistance as incremental rather than triumphant. Progress here is fragile, contested, and costly.

This isn’t a reinvention of the crime procedural, nor is it lightweight entertainment (in any way). It’s a confident, visually assured crime drama that sometimes reaches beyond its grasp but never loses sight of its intent. As an origin story, so to speak, it lays compelling groundwork. As a standalone film, it delivers a solid, engaging experience that values substance over simplicity. But I’m also intrigued by the idea of what else this world has to say, the untold stories of the next steps, and more!

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[photo courtesy of THE PR FACTORY, NORDISK FILM PRODUCTION, TRUSTNORDISK]

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