The gaze is directed directly to the camera. She holds her gaze as she reads, “No matter how it begins, for me it always ends the same way, here: do it or die.” After this shot, the camera moves to the profile view, where the young woman appears from the side, sitting at a table, in front of whom is a glass reading from a book. Finally, the third shot shows her from the back of the room full of people listening to her. And behind it, in large letters, is the cover of the book from which you read in this reading: “Luna eat or die.”
It’s her book, her first, and her book’s premiere: with 19-year-old Louise Nathan (Jana McKinnon), he delivers a new and promising literary voice for her debut according to the publisher. Applause After the end of the reading, in front, in the first row, the proud mother, Frederic Nathan (Nicole Marischka), and the equally proud publisher, Roland Hubler (Clemens Schick).
After only a few shots from the camera, the following evening, Louis Nathan lay dead under one of the bridges on the main bank, and the chief inspector of Frankfurt, Anna Jannik (Margareta Broich) and Paul Brix (Wolfram Koch) watched a train cross the Main. The bridge rises up into the dark evening sky. Janneke Brix asks: “Did she orchestrate her departure?”
The title of the novel is the title of the TV episode of this new “crime scene” from Hesse: “Luna Eat or Die”. Everything points, at first, to what Brix succinctly and precisely formulates at the crime scene when they stand before the dead young woman: suicide. The up-and-coming writer appears to have committed suicide immediately after the publication of her first book. but why? Can’t he withstand the high pressure of expectations that lie in every new release on the part of the publisher? (“Crime scene: Luna eat or die,” Sunday, ARD, 8:15 p.m.)
Were there any difficulties with the publisher previously, for example with the somewhat erratic editor Marvin Jess (Thomas Breen)? Or did Louise follow Nathan’s protagonist Luna, who is contemplating suicide? How big is the similarity between the real Louise and the fictional Luna? The questions Janneke and Brix face.
“Luna Eat or Die”—directed by Katharina Bischoff based on the screenplay she and Jonah Thalman wrote—quickly takes a stand in its narrative that partly parallels the true events and the fictional plot of the novel appearing or alternating with one another and potentially merging into one another.
Once, Chief Inspector Yaniki—she and Brix beat themselves up to read the demarcation—reads a passage out loud, recites it, and at that moment the images merge into the fictional narrative, in the life of Luna, who suffers from her mother, under the constantly experiencing social disadvantage.
The voices of the commissioner and the author – the dead – up and coming out, intersect. This is a trick that can sometimes cause short-term confusion, as it may not always be immediately apparent at the narrative level you are currently at.
It wasn’t suicide
Literary passages initially feature writer Louise as Luna, but she is soon replaced by her friend, Nellie Konzi (Lena Orzendowski), and Yannick and Brix investigate her socially disadvantaged family with unsupervised mother Jesse Konzi (Tinka Forest). .
It was also clear for a long time what was in the air all along: it was not suicide. The young author was killed after the premiere of his ceremonial book.
“Luna eat or die” is very strange. The events revolve around the “crime scene” in Frankfurt. Although the connection between the two narrative levels may be witty and original, it sometimes seems stressful, perhaps even tense.
It’s too late, too late, it becomes really clear what this, along with all the other sub-themes, is about for the half of the film – plus all the social commitment of Louis Nathan and her mother, a Frankfurt City Council member for social affairs plus all the vanity and shallowness In the publishing industry, and writers’ fears: It’s also about maternal love. About exaggeration, about being omnipresent and about neglect, about absent motherly love. And about what this could lead to, too.
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