They’ve still got to solve the mysteries, race through the car chases, fend off threats from all sides, and maneuver through endless obstacles, and they’ve got to do it while struggling with their own, knee-buckling tragedies-some difficult to imagine, some upsettingly familiar and mundane. Now imagine that the only people willing and equipped to fight for the truth and for justice are in incredible pain.

But imagine any legal thriller you like-say, early “House of Cards,” or maybe “ Primal Fear”-and then involve the ruthless murder of millions, an army intent on slaughtering an entire ethnic group. What’s most striking about “Black Earth Rising”-outside of the constant touching, the terrific performances, and the thoughtful filmmaking, anyway-is that it’s essentially a legal thriller mixed with a painful search for personal history, leaving threads dangling for so long that it’s easy to forget them entirely until suddenly they are yanked on, and something else unravels. An explanation cannot be given, but is promised down the road, and then all hell breaks loose. Kate is horrified, deeply wounded-a Tutsi herself, she cannot understand why her mother would choose to prosecute the man who ended the nightmare. She accepts the role of prosecutor in the case against Simon Nyamoya ( Danny Sapani), a Tutsi General credited with bringing about the end of the Rwandan genocide, but who Eve charges with a horrific crime unknown, it seems, to all but the General, her colleague Michael Ennis ( John Goodman), one or two others, and herself. “Black Earth Rising” centers primarily on Kate Ashby (Michaela Coel in a bracing, intensely vulnerable turn), a British investigator who, as a child, escaped genocide in Rwanda in the arms of her adoptive mother, Eve Ashby ( Harriet Walter), an international lawyer who specializes in the prosecution of war crimes. At its best, Hugo Blick’s series lives in the spaces out of reach.

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