The Eddy succeeds where Hollywood fell short. While both series are very sleek looking and heavy stylized to reflect their environments, The Eddy is a focused narrative about how music can bring us together while healing those who are wounded emotionally. Hollywood attempts to right every injustice in Hollywood. Nothing about The Eddy felt trite or was seemingly over the audience’s head. Damien Chazelle’s latest project is like a beautiful Jazz Quartet sounding smooth right during Happy Hour.
The limited series is directed by Academy Award winner Damien Chazelle (La La Land), Emmy Award® winner Alan Poul (Tales of the City), Cannes Camera d’Or winner Houda Benyamina (Divines) and Laïla Marrakchi (Le Bureau des Légendes). The series centers around Elliot Udo (André Holland) is now the co-owner of struggling club The Eddy, where he manages the house band fronted by lead singer Maja (Joanna Kulig). As Elliot learns that his business partner Farid (Tahar Rahim) may be involved in some questionable practices at the club, Elliot’s troubled teenage daughter Julie (Amandla Stenberg) suddenly arrives in Paris to live with him. In the blink of an eye, Elliot’s priorities have changed as he realizes trouble might be ahead.
The cinematography in the series is some of the best I’ve seen all year—the use of handheld and close-up shots throughout the season audiences an intimate feel for what’s unfolding. The music in the series was incredible. Ensemble wise, this show has some of the best chemistry, which of course, impacts the performance for the better. Acting-wise, Andre Holland was fantastic as Elliot giving his character such depth that towards the end, when he’s redeemed on stage, it just seems right.
Overall, The Eddy was such a pleasant surprise after what occurred with Hollywood. I love how each episode gives us a different perspective on what’s happening from members of the club’s band. Such a simple choice made the series that much more appealing.