viewers see Detective Robin Griffin (Elisabeth Moss) recently returned to Sydney and trying to rebuild her life. When the body of an Asian girl washes up on Bondi Beach, there appears little hope of finding the killer, until Robin realizes “China Girl” didn’t die alone. Robin looks to the investigation to restore herself, but her problems are personal. Haunted by a daughter given up at birth, Robin desperately wants to find her, yet dreads revealing the truth of her conception. But her search to learn the identity of “China Girl” will take her into the city’s darkest recesses and closer than she could have imagined to the secrets of her own heart. The miniseries is written by Jane Campion and Gerard Lee and directed by Jane Campion and Ariel Kleiman.
Top of the Lake: China Girl
is — among a seemingly infinite array of other things — a story about second chances,” writes
. “And while that theme is beautifully personified by any number of different characters during this six-hour miniseries, there’s a certain irony to the fact that this epic detective drama is built upon a foundation of redemption and regret. After all, Campion got it right the first time [with
Top of the Lake
“Top of the Lake: China Girl somehow manages to dive even deeper. It’s richer. Wider. Darker. Campion, along with co-director Ariel Kleiman and co-writer Gerard Lee, has crafted a monumental latticework of emotional threads, seamlessly weaving together dozens of different character into an intimate epic that — over the course of six hour-long episodes that fly by in a flash — touches upon everything from sex work and surrogacy to patriarchy in the digital age and the instinctive push towards parenthood. But most of all, this extraordinary work of character-driven crime fiction is a story about bodies, and the stories that bodies tell us.” To read Ehrlich’s article, click here.