Mads Brügger has described The Black Swan as “a documentary disguised as a spy thriller.” At the center of his docuseries, the second most-watched documentary in Denmark history, stands Amira Smajic, a former insider in Denmark’s criminal world who goes undercover with hidden cameras. Brügger collaborates with Smajic to reopen her former consultancy office, now rigged to document real-time encounters with criminals, lawyers, and businessmen involved in corruption and fraud. Brügger intentionally blurs the line between fact and deception by making Smajic the ultimate unreliable narrator: her past is defined by deceit, and her present role as a mole demands constant subterfuge. As the narrative unfolds, her ability to outwit both the criminal network and, at times, the documentary team itself, underscores the theme that truth is often elusive and shaped by those who tell it. His groundbreaking series straddles the boundaries between journalism, fiction and noir to expose uncomfortable truths about Danish society, corruption, and the limits of trust—even within documentary filmmaking itself.