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The Mist star Danica Curcic is to front Netflix’s Danish original Equinox.

Curcic, who played Mia Lambert in Spike TV’s adaptation of the Stephen King novella, is joined by Viola Martinsen (When The Dust Settles), Lars Brygmann (Dicte) and Hanne Hedelund (Borgen) in the six-part series.

The series is a remake of podcast Equinox 1985 and was created by Tea Lindeburg. It is exec produced by The Killing commissioner Piv Bernth and her ITV Studios-backed company Apple Tree Productions and produced by Dorthe Riis Lauridsen. It is directed by Søren Balle.

Filming has begun on the series, which is a character-driven supernatural thriller about young woman Astrid (Danica Curcic), who is very affected by the unexplainable disappearance of her sister and her school class in 1999. The series is set in Denmark and swipes back and forth between 1999, where it all started, and the present time.

Astrid is only...

Director: Nicolo Donato Writer(s): Rasmus Birch, Nicolo Donato Starring: Nicolas Bro, David Dencik, Claus Flygare, Michael Gronnemose, Hanne Hedelund Recently dismissed from the Danish army as a direct result of rumors of his homosexual behavior, Lars (Thure Lindhardt) – the dashing 22-year-old quintessential Aryan – falls in with a gang of neo-Nazi hoodlums whose leader Michael “Fatty” (Nicolas Bro) sees potential in his intelligent, eloquent and confrontational nature. The primary targets of the members of this local branch of the National Socialists are the “Pakis” who are purportedly settling in Denmark for the sole purpose of acquiring social services and financial assistance (similar to the Tea Party’s perception of “foreigners” in the United States.) After being booted from his parents’ home, Lars is sent to shack up with one of the group’s A-members, Jimmy (David Dencik), in a cozy seaside house being remodeled for Ebbe (Claus Flygare), the supreme leader of the organization.

Final Cut Prods.

NEW YORK -- This slice of Nordic doom and gloom envelops the gruesome behavior of its subjects in a jaunty charm. The story of a dysfunctional family with a tyrannical, child-abusing father ambles along like a gentle pastoral tale. The clash of style and subject matter ultimately proves quite startling, as does the movie's capacity for meting out forgiveness. But its relentlessly despairing tone will make it a hard sell overseas. The Danish film screened at the EFP New York Industry Screenings.

The Art of Crying, directed by Peter Schonau Fog from a novel by Erling Jepsen, is told from the point of view of 11-year-old Allan (Jannik Lorenzen). Allan is in the thrall of his unsavory father, Papa (Jesper Asholt), who suffers from an inferiority complex and bullies his two children. Papa uses Allan to keep tabs on daughter Sanne (Julie Kolbeck), especially when she's dating. Suspicions about Papa's overzealous investigations into Sanne's romances are confirmed when he's revealed as an incestuous child molester.

The script, by Bo Hr Hansen, cleverly expresses the nonjudgmental view of a child who doesn't know any better. Allan doesn't realize that there's anything wrong with his family and is quite proud of his father until it dawns on him that Papa's relationship with Sanne is not quite right. The mother, played by Hanne Hedelund, is a study in cowardice, allowing the abuse to continue. The film also examines how rural isolation can build close-knit communities oblivious to general standards of right and wrong.

Performances are all above par, with Asholt managing to immerse himself in the role of a child abuser.