The End of Eddy reads like an extended, intense essay, dashed off in white heat.
Xiao Fan looked up as the words were severed in the air. The scythe was no longer in his hand. Instead it was arcing downwards automatically, except not automatically, because it had been taken deftly from his grip by his elderly father who now slashed at their assailant in blind fury.
Films about obsession usually start in the before, the halcyon days of family and friends and home. A little background that helps explain the protagonist’s turn once it’s all shattered. Not in Moka, the new film by Frédéric Mermoud and adapted from the eponymous novel by Tatiana de Rosnay. We enter this one at full tilt with Diane Kramer (Emmanuelle Devos), a woman already consumed.
Amos Oz’s Judas is a story of delicate balances. The sort of novel where you wonder what a room is like when nobody is in it. Judas plays what-if games with history.
They all pretend to be free spirits, terrorists,
Not by the book just by the letter,
But hey, don’t they all write poetry,
Don’t we all write poetry, these days,