Tore – Dark & Funny Exploration of Grief and Self-Destruction

– A review by Poojan Patel

Talking about grief is always interesting because people handle it in different ways, even in comedy. When someone loses a loved one, —some confront the pain head-on, while others navigate in denial. The way people avoid dealing with grief can be both strangely funny and deeply emotional.  In essence, this Swedish series becomes a poignant study of the human condition, a journey into the uncharted territories of grief where the protagonist’s deliberate denial becomes a prism through which we, as viewers, are invited to reflect on our own mechanisms of coping with loss. The series beckons us to ponder the relationship between humor and sorrow, offering a unique perspective on the ways we grapple with the inevitable and universal human experience of bidding farewell to those we hold dear.

“Tore,” created, written, and starring William Spetz, we are taken on a journey through the unconventional coping mechanisms of a young man named Tore, brilliantly portrayed by Spetz himself.

The series kicks off with Tore, a 27-year-old living with his father, Bosse, played by Peter Haber, who works in a local funeral home. The sudden death of Bosse propels Tore into a spiral of grief, a journey skillfully woven into the fabric of dark humor by Spetz. The opening scenes deftly establish the close bond between Tore and his father, making Bosse’s demise genuinely shocking and deeply felt.

What follows is a nuanced exploration of Tore’s coping mechanisms, where he opts for self-destructive behaviors to numb the pain. Spetz does an admirable job of portraying Tore as a character both sheltered and reckless, creating a fine balance between humor and the raw emotions of grief. As the series progresses, Tore’s risky endeavors lead to connections with characters like Erik, adding layers of complexity and potential tension with his supportive best friend, Linn.

Spetz’s writing is a standout feature, tightening the narrative to deliver an authentic experience. The pacing, intentionally set on the slower side, allows the audience to delve into the complexities of the characters and subplots. The color palette, ranging from lemon yellow to green, contributes to the series’ unique tone, seamlessly blending comic and tense elements.

The realism in “Tore” extends to its performances, with Spetz bringing the character to life in a way that showcases his diverse complexities. The handheld camera work, while claimed to be constant, surprisingly remains steady, enhancing the overall viewing experience. However, the series occasionally veers off track, with moments where the major grief takes a back seat to infused comedic elements.

“Tore” isn’t solely about its titular character; it delves into the lives of supporting characters like Linn, Erik, and Viggo, each with their own arcs and emotional stakes. The ensemble cast, featuring Sanna Sundqvist, Hannes Fohlin, and Victor Ivan, enriches the grounded world of the show.

This serious comic drama offers a lot to those who appreciate self-destructive comic dilemmas, seamlessly blending humor with poignant moments. “Tore” is a hidden gem that may not conform to typical Netflix standards, but its potential to impact viewers on a personal level is undeniable. It may not be the flashy, attention-grabbing content often favored by streaming platforms, but for the right audience at the right time, “Tore” has the power to be transformative. Don’t let it get lost in the vast sea of options; give it a chance, and you may find yourself laughing, crying, and emerging a slightly better, more reflective person after six episodes.