A morning without reliable memories
After an eighties-themed party, a young woman named Nora is found dead. Potential witnesses offer little reliable recollection. Eva Spreitzhofer sends the Munich investigators through a case in which nostalgia, memory and personal self-deception become as important as clear evidence.
Connections to the city’s nightlife of the period and Freddie Mercury allow unusual associations. Not every route works equally well. The story nevertheless fits the series’ distinctive tone, whose appeal extends beyond a perfectly streamlined investigation.
The team holds it together
Alexander Held gives Schaller his unmistakably quiet, strange presence. Bernadette Heerwagen supplies Flierl’s psychological attentiveness, while Marcus Mittermeier’s Neuhauser takes a more practical approach. Looks, small barbs and their familiar dynamic bring encounters to life.
Eva Karl Faltermeier adds a pleasingly grounded note as new superior Linda Hösl. Her friction with the team creates fresh situations without replacing its fundamental structure. Melancholy beneath the eccentric surface gives the story more weight than its sometimes chaotic branching paths.
Verdict
Die Stadt, die es nicht gibt succeeds chiefly through its characters and their interaction. Some detours in the case are less rewarding than others, but it remains connected to München Mord’s particular identity. Eccentricity, quiet emotion and a strong cast make this an effective television crime film rated 7.5 out of 10.