Copenhagen Cowboy

Created by Nicolas Winding Refn, Netflix's 'Copenhagen Cowboy' is a Danish crime thriller series that follows a young heroine, Miu, who has been a loyal ...

In addition, due to the presence of many parks, Copenhagen is a green city. Situated on the eastern shore of the island of Zealand in the Øresund Region, Copenhagen is known to be the country’s significant economic and financial hub, with most of it depending hugely on services, commerce, and tourism. Miu navigates the criminal netherworld of the city through the natural and supernatural lens.

Danish auteur Nicolas Winding Refn's new series, Copenhagen Cowboy, is expected to premiere on Netflix on Thursday, January 5, 2023, at 3 am ET.

Starring alongside Bundalovic in a key role is critically acclaimed actor Zlatko Burić, who portrays the character of Miroslav. Copenhagen Cowboy stars the talented Angela Bundalovic in the lead role as Miu. Here's a brief description of the series, according to Metacritic: It has a distinctive feel and promises to chronicle a memorable journey while exploring themes of revenge, violence, and much more. Bundalovic looks brilliant in the show's trailer as she wonderfully paints the numerous facets of her character with remarkable ease. Danish auteur Nicolas Winding Refn's new series, Copenhagen Cowboy, is expected to premiere on Netflix on Thursday, January 5, 2023, at 3 am ET.

Thriller fans, mark your calendars for this amazing noir-thriller TV series. Created by Nicolas Winding Refn, Copenhagen Cowboy is an upcoming thriller ...

The release date of Copenhagen Cowboy is 5th January 2023. The series features six episodes that have a run time of sixty minutes. After a couple of controversies, the show is all set to release now. The show was commissioned as a part of the Danish However, the official trailer was released later on the 23rd. On the same day, the cast of Copenhagen Cowboy was also revealed.

Mark your calendars for this incredible noir-thriller TV series, thriller aficionados. You definitely wouldn't want to miss the new thriller series ...

Aside from that, there is no word on whether the show will be broadcast on other platforms. And if you have any questions or comments Let us know in the comments, section. She will be forced to revisit her history on this voyage, which will help her understand herself and her relationships. Then do let us know in the comments section below. She will not stop looking for revenge and justice until she discovers the traitor. Will her rage and sadness drive her to seek vengeance? We will finally be able to view the show on Thursday. The series consists of six episodes totaling sixty minutes in length. Copenhagen Cowboy will be released on January 5, 2023. The show is now ready for release after a few controversies. On July 22, 2022, the program was ordered as a Danish Because we enjoy thrillers, we are excited for the show to air.

'Copenhagen Cowboy' is a Danish crime thriller series created by Nicolas Winding Refn. Miu has been a loyal service to an unknown organization for many ...

Copenhagen is a popular tourist destination for filming. As per reports, the first season of the thriller series began in September 2021 and ended in early April 2022. The stellar onscreen performances from a talented ensemble cast, including Angela Bundalovic, Fleur Frilund, Lola Corfixen, Zlatko Buri, and Andreas Lykke Jrgensen, add to the narrative's overall atmosphere by the relatively darker undertone and the use of shady and surreal locations.

Television has become an increasingly populated home for auteurs. Likely inspired by the success of "Twin Peaks: The Return" and stymied by the death of the ...

Most of the ideas in "Copenhagen Cowboy" are underdeveloped, and Refn is repeating more than he is reinventing. That process seems to capture the depth of this entire project, one that plays with a lot of interesting elements but has so little fun doing so. The director of " [Drive](/reviews/drive-2011)" and " [Only God Forgives](/reviews/only-god-forgives-2013)" jumps streaming giants over to Netflix this week with the six-episode "Copenhagen Cowboy," Refn's first Danish-language project since "Pusher 3" in 2005. Refn has reportedly revealed that the title has nothing to do with this weird, hollow show and that he just liked the sound of the two words he chose before he even started writing. "Copenhagen Cowboy" opens with Miu being sold to the aforementioned woman who wants a child. [The Kingdom Exodus](/reviews/the-kingdom-exodus-movie-review-2022)" or [Olivier Assayas](/cast-and-crew/olivier-assayas) delivering the masterful "Irma Vep."

Time and again, filmmaker Nicolas Winding Refn has been accused of preferring style over substance. His recent films —Drive, Only God Forgives, and The Neon ...

Night Shyamalan and cinematographer Mike Gioulakis use the technique, particularly in a show like Servant, where the rotating lens surprises the viewer with carefully placed revelations. Still, the occasional jokes are a relief, and so are the few flashes of action. It’s telling that Refn’s last longform project, Too Old to Die Young, was similarly stylized but much more engrossing, and it suggests Ed Brubaker, who wrote the series, is a better collaborator for Refn than his co-writers here: Sara Isabella Jönsson, Johanne Algren, and Mona Masri. The emptiness is epitomized by the constant use of a camera that rotates 360 degrees but never teaches the viewer anything new about a scene. There are even a few instances where the jokes actually land, like a one-off scene where the deadpan Miu engages in a drug deal with clownish businessmen. Even trying to describe the show’s plot is a losing game.

Refn directs the series and has the writing credits along with Sara Isabella Jønsson Vedde, Johanne Algren and Mona Masri. Magnus Nordenhof Jønck is the ...

She also travels into her past to recognise and understand the incidents of the present. In her journey through the netherworld, she also discovers the supernatural powers that she possesses. The series will consist of six episodes with a total runtime of approximately 45-50 minutes.

'Drive' and 'Neon Demon' director Nicolas Winding Refn is back with his second TV project, 'Copenhagen Cowboy'.

He previously helmed the Pusher trilogy, a series of Danish crime films set in Copenhagen. Winding Refn, however, has expressed his interest in creating a follow-up. “Searching for justice and enacting vengeance, she encounters her nemesis, Rakel, as they embark on an odyssey through the natural and the supernatural.

Nicolas Winding Refn's supernatural noir has a hypnotic central performance but will leave many viewers utterly baffled.

The childless woman turns out to be the sister of a brutal pimp who runs a countryside brothel. In the back is a woman with huge eyes, short hair and an impassive expression that you’d better get used to because, but for the odd flicker of a smile, it barely changes for the next six episodes. To a soundtrack of porcine squeals a woman in stiletto slingbacks is being slowly throttled. To disorient you further, he washes every interior in red or blue filters, spins his camera in circles as if on a merry-go-round, or immobilises it for so long that his shots look like album cover stills. This is the Danish auteur’s first work not in English since the Pusher crime trilogy which announced him as a wunderkind in the mid-1990s. We are instead in the world of

She is determined to track down her nemesis though with the help of her supernatural abilities. Miu is portrayed by Danish actress Angela Bundalovic ...

All six episodes of the crime thriller were released on Thursday, January 5, on Netflix. Who is in the cast of Copenhagen Cowboy? Copenhagen Cowboy will follow a young woman who has spent her life enslaved and is now on the hunt for the woman responsible.

Copenhagen Cowboy is a noir-thriller series written and directed by Nicolas Winding Refn, starring Angela Bundalovic, Zlatko Buric, and Lola Corfixen.

The latter being far from central to this tale of justice sought, making it a series that is well worth the while, And so, it takes off in the dank setting of a brothel, where Miu will work subtle magic while she observes the strange goings-on. Stylistically rigorous and consistent, which contrasts with the unpleasantness of the depictions of overt violence. A peculiar number that will be to the liking of Winding Refn and Lynch fans alike. In six episodes we follow Miu, the young woman who is believed to have special powers, and is used as a charm of sorts. Harsh, brutal, stylized and very aesthetic – this is not a series for the faint of heart.

To appreciate a Refn project like 'Copenhagen Cowboy' is to accept that, sometimes, style wins out over substance.

[axing original programs like 1899, which has broader genre appeal](https://variety.com/2023/tv/news/1899-canceled-season-two-netflix-1235477349/), what chance does Copenhagen Cowboy have of getting a second season? [frequent Refn collaborator Cliff Martinez](https://www.theringer.com/music/2019/6/20/18691932/cliff-martinez-composer-too-old-to-die-young-drive-nicolas-winding-refn), a neon-drenched neo-noir aesthetic that wouldn’t feel out of place in an edgy perfume commercial, and slow 360-degree camera pans demanding that the viewer savor every eye-popping detail, lest they become bored out of their minds. Incredibly, Copenhagen Cowboy appears to have been made with future seasons in mind: By the end of the sixth episode, the show introduces a formidable foil for Miu with her own supernatural abilities. (The hilarious bit is admittedly undermined by the real-life allegation that an [actual pig was killed](https://www.peta.org/media/news-releases/pig-killed-for-scene-in-drive-directors-new-netflix-series-peta-says-cut/) on the production.) For that reason alone, there’s something to be admired in the very existence of Copenhagen Cowboy, especially as the era of relentless spending by streaming services grinds to a halt. (While Too Old to Die Young initially focuses on a couple of slimy male protagonists, the series culminates with two modern-day witches at the center of its story.) In Refn’s own words, Copenhagen Cowboy is a [“female evolution”](https://deadline.com/2022/09/copenhagen-cowboy-nicolas-winding-refn-says-netflix-series-is-a-female-evolution-of-characters-from-valhalla-rising-drive-only-god-forgives-venice-film-festival-1235112618/) of his usual preoccupations, a fitting move considering the show stars his two daughters, Lola and Lizzielou Corfixen, while his wife, Liv Corfixen, is an executive producer. (If Only God Forgives [tested the audience’s patience](https://variety.com/2013/film/global/ryan-goslings-only-god-forgives-booed-in-cannes-1200486537/) at 90 minutes, imagine sitting through a six-hour series that moves at the same glacial pace.) Whether or not Refn moved to the small screen because he was no longer finding any takers for his feature films, his divisive style is an intriguing fit for the stretched-out length of a TV show. [“next Game of Thrones” basket](https://www.theringer.com/tv/2021/11/22/22796607/wheel-of-time-review-amazon-game-of-thrones); Netflix, fueled by persistent subscriber growth, continued to [spend billions](https://www.fastcompany.com/90410798/netflix-spent-an-estimated-15-billion-on-original-content-in-2019-ahead-of-disney-and-apple-tvs-launches) on original programming without hesitation; Disney+ arrived in the fall, riding a wave of goodwill for the company’s latest [adorable merchandising opportunity](https://www.theringer.com/mandalorian/2019/12/12/21011889/baby-yoda-mandalorian-disney-plus-toys-etsy); and HBO Max wouldn’t debut for another year. Meanwhile, Refn hasn’t released a feature film since 2016’s The Neon Demon, and while he hopes to make another movie soon, he’s also conceded that Hollywood is [“falling apart desperately.”](https://deadline.com/2022/12/copenhagen-cowboy-nicolas-winding-refn-netflix-podcast-interview-1235207739/) With fewer potential avenues for his work, Refn has opted to stick with streaming, and Copenhagen Cowboy feels like a worthy compromise. (My first thought was “Yellowstone but with Scandinavians,” which couldn’t be further from the truth.) Copenhagen Cowboy’s arrival is a bit of a surprise when you consider the contentious nature of Refn’s work, including his first swing at a TV show.

This review of the Nicolas Winding Refn Netflix series Copenhagen Cowboy Season 1 does not contain spoilers. Every director has at least one bizarre, ...

It won’t do the big numbers it needs for a renewal, but it’ll probably threaten to continue anyway, in the limitless potential of its ideas and the striking strangeness of its execution, it’ll live in the memories of everyone who watches it, like something that might have happened a long time ago to someone else entirely. The watcher becomes the watched, the observed, her efforts to put the pieces of herself together mirroring our own assembly of her identity, her potential, bits and pieces we’ve gleaned from here and there making Miu a mosaic. But Refn is interested in this character, in who she is and where she came from, and so after a while, we become curious too. It’s as much a revenge thriller as a magical-realism coming-of-age story, as much a comedy as a drama, and as much about the depths of human depravity as the power of hope and kindred spirits finding their salvation through each other. The squealing of pigs mentioned above is a recurring idea here, the sows punctuating moments of sex and violence, blurring the depravity of human behavior with the natural exhortations of ravenous animals. A melange of squealing pigs and gaudy lighting, this dreamscape of debauchery isn’t quite as aggressively macabre as some of Refn’s other settings and stories, but it’s an equally strange, compelling, and almost supernatural land of exquisitely constructed make-believe, the kind it seems a platform like Netflix exists to bring to life when other, more traditional platforms wouldn’t dare.

Episode 1 of Copenhagen Cowboy starts with the camera panning across a whole row of pigs at the slaughterhouse. This backdrops two figures, one male and one ...

It’s a quiet, subdued episode that takes its sweet time to introduce Miu and the other characters. The hierarchy here is very different and it seems Miu is about to experience the very hell she’s been shielded from thus far. It seems she’s not pregnant after all, and in fact she decides to move Miu down to the basement, still in her underwear. Unfortunately, she’s choked out and killed by a shadowy character called Nicklas, explaining the scene at the start of the series. Now, these women happen to be undocumented immigrants from various parts of Eastern Europe, and we’re introduced to Cimona who had her passport taken off her at the border. Andre burtsts in and immediately smacks Sven upside the head, lashing out at him and beating him for sleeping with “Andre’s girls”.

The young woman, who is an immigrant devoid of papers and has been bought by Rosella, the matriarch of what we very quickly realize is a bizarre crime family, ...

Towards the end of the episode, she tries to. When he thrusts and grunts, Refn mixes in the squealing of the pigs, blurring the line between human and animal, which is a trick he repeats a lot, always in the context of sex or violence. Rosella thinks Miu can help her to get pregnant and is willing to pay her ten grand for the privilege. Most of “Miu the Mysterious” revolves around Miu and is indeed mysterious. When she argues, the offer lowers. We’ll return here a little later with a bit more context, but the turn the scene takes can hardly be described as illuminating.

Nicolas Winding Refn's 'Copenhagen Cowboy' follows Miu (Angela Bundalovic), a heroine with mysterious powers, through Denmark's criminal underworld.

Moment to moment, Copenhagen Cowboy offers plenty of pleasures: the cool of its taciturn hero, the romance of a brokenhearted gangster figure, the wicked thrill of impending violence, the beauty of one particularly vivid shade of cobalt. Added together, though, they amount to a greatest-hits compilation of Refn’s earlier works, rather than a singular statement in its own right. Over six hourlong episodes, Miu drifts from a brothel run by an Albanian gangster to a restaurant serving as a front for the Chinese mob; encounters hitmen and drug dealers and a family of sadists; and exacts revenge on those who’ve harmed people she cares about while searching for answers about her own origins. Entire minutes slip by as a the camera regards a panel of wallpaper, or does a slow 360-degree pan around a room, or lingers on a composition long enough that a viewer can’t help but admire the heavy-handed symbolism contained within it. But what really sets Miu apart is her appearance — a small frame clad in a tracksuit and topped by a bowl cut. It may be time for its creator to borrow a page from his protagonist, and venture outside his comfort zone in pursuit of newer, deeper experiences. Near the very end of the finale is a scene that wildly miscalculates how much patience an audience might have for spinning around a forest when there’s only a few minutes left of the season to wrap things up. With her odd gifts, mysterious past and unchanging outfit, Miu becomes a sort of arthouse superhero. In the end, it doesn’t actually do much wrapping up at all — the way the story leaves off, it’s clear these six chapters have been planned as part of a multi-season arc, should the Netflix gods be feeling generous. All his usual hallmarks are present and accounted for: the saturated neon lighting and the Cliff Martinez score; the strong, silent protagonist and the seedy criminal underworld; the fetish for violence that verges on (and occasionally tips over into) sexual; the dreamy pacing that captures a vibe better than it tells a story. Which would seem like good news if you’re a fan, as I am; this is as sumptuous a work as he’s ever delivered, and one allowed to take up the sprawl of a TV series. It is, in short, Refn at his most indulgently Refn-y.

The "Drive" and "Neon Demon" director revisits his favorite motifs in a Netflix series that's too slow to divulge any fresh ideas. [Review]

As Rosella’s favorite, she uses her “perks” around the house to help the other women, even giving her cell phone to Cimona (Valentina Dejanovic) so she can call her mother (who doesn’t answer — or call back). (There’s a group of businessmen who resurface as a way of connecting two threads, and I’m convinced Refn cast himself as one of them just so viewers would recognize an otherwise amorphous group of white men in suits.) [Copenhagen Cowboy](https://www.indiewire.com/t/copenhagen-cowboy/)” is a step backward. The question unintentionally lingers over the first few hours, as Miu moves through the space in silence, only speaking when explicitly asked to do so (and sometimes not even then). She spots Rosella’s husband raping one of the female hostages (or one of “Andres’ dolls,” as they’re called). Veterans know there are no guarantees, and more importantly, they know that audiences crave some form of closure — a season may be part of a larger series, but it can still stand on its own. Rosella is a cruel, desperate woman, who cuts and sells locks of Miu’s hair to equally desperate “friends.” Later, she reneges on an already lopsided deal by threatening to have Miu deported. [Nicolas Winding Refn](https://www.indiewire.com/t/nicolas-winding-refn/) first made the leap from theatrical films to streaming series, he followed in the outsized footsteps of his indulgent predecessors: He went long. Still, Refn’s interest in streaming itself — in exploring how the audience experience could and should affect his choices as a writer and director — was exciting. Like David Lynch returning to “Twin Peaks,” Refn was initially hooked by the prospect of telling a story that unfolded over whatever amount of time he deemed sufficient, but (also like Lynch) the Danish provocateur was further fascinated by the ways streaming reshaped the form. He [believed](https://www.indiewire.com/2019/06/nicolas-winding-refn-watch-too-old-to-die-young-amazon-series-1202149753/) younger audiences see the internet “as a kind of coexistence — like it’s a beam around them that they’ll just drop in and drop out of,” and he made his first TV show to be consumed similarly. “Thirteen hours is a long time in someone’s life.”