In “Tatort: Luna Eat or Die” in Frankfurt, a young, up-and-coming author is found dead under a bridge.
“It irritates my face…No matter how it starts, it always ends up being the same for me. Here. Take it or die,” says Luna. What the protagonist experiences shocks the reader or, in this case, the Frankfurt commissioners “Crime Scene: Luna Eat or Die” (Sunday, October 31, 8:15 p.m. on the first). But what’s even more shocking is that the stories seem real. Janneke and Brix face the difficult task of learning what their victim actually experienced and what fiction is.
This is what “Tatort: Luna Eat or Die” is all about.
Louise Nathan (Jana McKinnon) celebrates her debut novel “Luna Eat or Die” at a release event with publisher Roland Häbler (Clemens Schick) and editor Marvin Gess (Thomas Prenn). The next morning the young writer was found dead. The first indications point to suicide. But her mother, Frederic (Nicole Marishka), a city councilor for social affairs, can hardly imagine that. And right: studies show that external influences led to death.
During their investigations, Inspectors Anna Yannick (Margarita Broich) and Paul Bricks (Wolfram Koch) come across many parallels in Louise’s life and that of her novel heroine Luna. What is the biography of the book? There are increasing indications that Louise, like the girl in the book, was kidnapped some time ago.
The only person who seems to know the truth is the girlfriend of Louise Neely (Lena Orzendowski), who lives in desolate conditions with her single mother Jesse (Tinka Forest). But why does the girl not want to help the inspectors?
Directed by Katharina Bischoff, who also wrote the screenplay for “Tatort” with Joanna Tallman. In an interview with HR, they both revealed the following about the film industry:
Human Resources: The story is advanced on three levels. There are investigations..there are scenes from the book of the murdered..and there are television reports..how did this idea come about?
We wanted to tell the case accurately from the point of view of the investigators. At the same time, we wanted to delve deeper into the emotional world of the episode’s characters. This gave rise to the idea of detectives reading the stories in the book and imagining the world of heroes, based on the current state of knowledge of the investigations. Suspects appear in the inspectors’ visions, as in their homes, workplaces, etc. – the more the inspectors know, the more detailed their thoughts are. But strictly speaking, there are only two levels, because TV reports belong to the investigation level.
Film is always about the question of what is fiction and what is truth. This is also the issue of the hour. Is this a coincidence?
This is certainly no accident and we are very pleased that this statement was found between the lines. Crime scene narration not only manipulates notions of fiction and truth within the cinematic space but also signals our creativity. Because the development of the central story made us makers in the same struggle as the author’s character in the film. On the one hand, we wanted to do justice to the pressing issue of Germany’s large social gap. On the other hand, there was a danger of using the real suffering of real people as the pure plot of a fictional story. A cinematic walk on a tightrope made working on this project one of a kind.
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The interesting question is: What is fiction, what is reality? What did the author really experience? The change of perspective was particularly successful in this case: the images in which the inspectors imagine the dead woman as the protagonist in a novel give the “crime scene” a unique selling point.
Problems such as the gap between rich and poor, unequal opportunities for children, and copyright abuse bring the viewer closer to a new perspective, but without raising an accusing finger. Although the mood and images are ambiguous, the issue is more timely than ever and deserves a large audience.