The novels of Camilla Läckberg, nicknamed the “queen of Swedish crime fiction”, have sold more than 26 million copies worldwide. Known for their intrigues interweaving family secrets, chilling murders and enchanting Fjällbacka settings, they have already won over readers from all four corners of the globe. But in 2024, it is under the Landes sun that the author’s universe comes to life with Ericaa free adaptation of his first bestsellers.
Under the direction of Frédéric Berthe (The invincibles, A man of honor), this new mini-series transposes the world of Läckberg to Hossegor. Julie de Bona plays Erica Faure, a writer who returns to Port-Clément to settle her parents’ estate. Her stay is turned upside down when she discovers the body of her childhood friend, Alexandra. Convinced that it is not a suicide, Erica leads an investigation where secrets of the past and mysteries of the present intersect.
A blue-white-red adaptation
Composed of six 52-minute episodes, Erica is built around three distinct investigations, each pair of episodes completing a mystery. This narrative structure, punctuated by temporal ellipses, allows the series to develop the relationship between Erica and Patrick Saab (Grégory Fitoussi), the police captain who accompanies her in her investigations.
The series thus plays on several tables: the personal introspection of the heroine, the twists and turns of the criminal investigations and a sentimental common thread. Besides Julie de Bona (The charity bazaar) and Grégory Fitoussi (Gears), the cast includes recognized figures such as Maud Baecker (Tomorrow belongs to us), Theo Fernandez (The Tuches), or Gérémy Crédeville (The perfect man).
The nuanced criticism
Despite an ambitious and attractive adaptation at first glance, Erica divides critics. Delighted, Allocinated first salutes the luminous heroine played by Julie de Bona, whose performance brings real depth: « [Elle] interprets a heroine full of mischief and a thousand flaws, but that’s why we adore her.” The media also highlights the original structure of the series, where the investigations are resolved quickly, leaving more room for an unexpected sentimental thread.
Tele-Leisure also highlights the alchemy between Julie de Bona and Grégory Fitoussi, which brings a real dynamic to the show: “Julie de Bona makes her character most endearing, and her duo with Grégory Fitoussi nourishes the romantic comedy side of the series.” The magazine, however, warns against temporal ellipses, which give this production a “somewhat disconcerting aspect” and accelerate the development of human relationships.
Too classic schemes
Erica does not escape negative criticism, particularly on its detective intrigues. Telerama is acerbic on this point, regretting predictable writing: “The screenwriters […] They too seem to have experienced blank page syndrome. […] Erica Faure, writer, appears to us to be much more competent than the entire police force in Port-Clément. » A remark which points to an imbalance between the psychological depth of the characters and the narrative structure of the investigations. “Under these conditions, not even Julie de Bona and her refreshing playfulness could convince us. »
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The Chronicles of Cliffhanger & Coalthough less severe than Teleramapoint out a certain lack of audacity in the treatment of the mysteries, describing the investigations as “whodunnit relatively classic, far from unpleasant, even if it is not originality that takes precedence”. However, the media recognizes the dynamic between Julie de Bona and Grégory Fitoussi, described as “the living force of this series”. Their alchemy, reinforced by light writing and a few touches of humor, manages to capture a little attention, giving a little breath to the whole.
