JUST ONE LOOK. When There Are Too Many Mysteries [REVIEW]

In the Polish crime world, an interesting TV series emerges from time to time. The only regret is that it’s usually an adaptation or a screen adaptation. It would be better if these were original scripts. Just One Look is an adaptation of Harlan Coben’s prose, a well-established and immensely popular literary brand in Poland and beyond. Netflix has offered viewers a story filled with well-known actors, multiple plotlines, twists, and mysteries. The question that must be asked, however, is whether we haven’t already seen this in a similar form—not only in Polish productions but especially in foreign ones.

In crime series, when many are produced and they are adaptations, viewers become accustomed to certain narrative techniques, expect plot twists, and may even predict the endings based purely on formal structures. This is the greatest risk for Just One Look—it is an interesting show, but not an innovative one. I’ve already seen opinions online claiming that the production lacks character. Perhaps there are simply too many mysteries, and the way they are presented is sometimes unclear, leading to negative reviews?

I don’t intend to criticize Marek Lechki’s series for this slight formal repetitiveness. Just One Look has character, even if it’s not unique. It is derivative—but in the best sense of the word. The plot is engaging, allowing viewers to follow it with interest, uncovering various threads, even if connecting them can sometimes be difficult. It’s a story that invites discussion and keeps you eagerly awaiting resolutions. Fortunately, despite critics claiming that nothing really happens in the show, the ending is not easy to predict. And that’s exactly the point—to keep the tension alive until the very end. And it does.

Marcin Macuk’s soundtrack contributes to this as well. While it may not stand out melodically, it serves its illustrative purpose excellently, appearing when needed and not in scenes that don’t require it. The lead roles, played by Maria Dębska and Mirosław Zbrojewicz, are well complemented by Mirosław Haniszewski and Cezary Łukaszewicz, making for one of the production’s strong points. The well-executed post-production and cinematography enhance the show’s evocative atmosphere. Strangely enough, all of this makes it difficult to feel that the show supposedly lacks uniqueness. In fact, it has more character than, for example, Hound’s Hill. As for the sound design, there’s nothing to criticize—dialogues are clear, actors have taken care of their diction and dramatic intonation.

Now, returning to the mysteries—there are plenty of them in the series, resulting in multiple plotlines. The central one is the disappearance of Jacek Ławniczak, the husband of the main protagonist. His disappearance is only temporary, of course, as he is hiding a significant and dangerous past. At the same time, another thread emerges—that of prosecutor Gajewicz’s daughter, who supposedly did not die in an accident but was murdered on order. Gajewicz wants to find out what really happened, who ordered the murder, and in doing so, he crosses paths with Ławniczak’s wife, who… Well, you’ll have to discover the rest for yourselves. And I hope it will be an interesting experience for you. It was for me, though I would have pushed some plotlines into the background while highlighting others.

I must also praise Piotr Stramowski, who played his role excellently, which is why I regret that it’s so small, despite its significance in the backstory. The character of Jimmy D. is unique and emblematic—far more compelling as an antagonist than Macher, but I hope viewers will judge that for themselves. As is common in such productions, the story includes flashbacks and a recurring concert motif. In my opinion, this motif is overused—even though the repeated flashbacks expand on past events and reveal what the protagonist remembers, they don’t add much to the plot or increase the tension. Instead, they become tiresome through sheer repetition.

The creators, along with the author, have used an age-old narrative device—amnesia and its gradual recovery—to build suspense. It’s an effective technique, though not particularly original. However, when a story has too many mysteries, the mind struggles to keep up, and viewers begin to notice such details and critique them—complaining about yet another case of amnesia, too many themes, or a lack of distinctive style. Indeed, the show is packed with secrets. Every character is hiding something or has a guilty conscience, which doesn’t always feel realistic and instead creates a somewhat artificial world. Maybe the novel’s descriptions mitigate this impression, but in the series, it may have contributed to some viewers feeling lost.

In a few weeks, we’ll see how many negative versus positive reviews accumulate and what arguments are made for and against the show. Then, we’ll have a clearer picture. For now, it’s worth noting that Just One Look manages to navigate its complex narrative with strong technical execution and form, preventing it from being overwhelming—despite the risk of getting lost in its intricate plot.