‘Kleo’ Review: Spy vs. a Lot of Other Spies

“Killing Eve” went off the air in April 2022. “Kleo” came along four months later. The offbeat, darkly comic, cold-war-related spy thriller abhors a vacuum.

The German writers and producers Hanno Hackfort, Bob Konrad and Richard Kropf, who created “Kleo” for Netflix, evidently were not afraid of comparisons to the popular “Killing Eve,” which ran for four seasons on BBC America. Kleo Straub (Jella Haase), their East German protagonist, is a lethal assassin with a guileless pride in her abilities, reminiscent of Villanelle, the “Killing Eve” role that brought Jodie Comer an Emmy.

Kleo also comes with her own version of Sandra Oh’s Eve, here a West German cop named Sven Petzold (Dimitrij Schaad) — an operative from the other side who is obsessed with Kleo and whose on-and-off, cat-and-mouse, will-they-or-won’t-they relationship with her is the show’s emotional center. And the two series share a style: the spy caper as darkly humorous fairy tale, shifting between mordant, violent theatricality and mordant, goofy comedy.

But “Kleo,” whose second season premiered last week on Netflix, is its own show, and, depending on your taste, it might be the better of the two. It is lighter and more straightforward in its storytelling and its humor, but just as moving and involving. It doesn’t have the filigree of “Killing Eve,” the same degree of baroque inventiveness, but it is ingenious in its own more casual, more human way.

And it is less of a self-contained hall of mirrors than the earlier show; it benefits from being about something real, even if its relationship to history is stretched to the breaking point. Season 2 returns to the fraught period between the fall of the Berlin Wall in 1989 and German reunification in 1990, with Kleo, the former off-the-books Stasi hit woman, still pursuing a personal mission of revenge that is somehow mixed up with the fate of the two Germanys.

The jokes, the suspense, the melodrama and the violent action of “Kleo” are all contained within a vivid portrait of post-fall Berlin. Everyone is quick to take advantage of the moral and political vacuum, from Thilo (Julius Feldmeier), the spectral techno-music junkie who becomes Kleo’s roommate and confidant, to all the Russian, American and East and West German spymasters who use her for their own purposes. The settings, in Berlin and other Central and Eastern European locales, are always visually absorbing, simultaneously candy colored and brutalist drab.