There is a pleasing pressure-cooker feel to proceedings, reminiscent of Agatha Christie’s classic And Then There Were None. Pearse uses clever red herrings – secrets, pills, affairs, mental illness – and the stand-off scenes between Elin and the murderer are genuinely scary. The setting proves ideal: slippery outdoor swimming pools, floor-to-ceiling glass windows, the austere beauty of the glacial mountains, the shadows and low lighting of the posh hotel. Right from the beginning, in a claustrophobic scene in a mountain funicular, there is the sense of no escape.
