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Hollywood-style time travel tales like to focus their attention on cultural fads and fashions: clothes, music, slang, daily technologies. The ingeniously low-budget Irish sci-fi film LOLA has fun with all of that, but also investigates darker, more global questions like: what if Germany had won World War II?
Pieced together in dazzling 16mm as an imaginary collage of interlocking audio-visual documents from the 1940s, Andrew Legge, directing his debut feature, conjures the lives of two gifted and lively sisters, Thomasina and Martha. Left to their own devices as children, the pair has managed to create a machine that receives media broadcasts from the future. In their personal, cloistered, punk paradise, they embrace the rebellious styles of an age to come – The Kinks, David Bowie – but also discover, when military personnel move in, that history is a dangerous game to toy with. The ultimate question becomes: if mass media can change the world, can cinema miraculously restore it?
Just like the monument to bricolage created by its characters, LOLA is an inspired conceit in the style of Guy Maddin, Woody Allen’s Zelig (1983) and Peter Jackson’s Forgotten Silver (1996). It’s a surreal romp through scratches, glitches and speculative possibilities.
卡梅隆·达多,吉娜·格申,莎侬·多赫提,兰迪·奎德,罗伯特·瓦格纳,亚当·罗德里格兹,塞巴斯蒂安·斯宾赛,尼古拉斯·李,约翰·卡普洛斯,林蒂·布丝,詹姆斯·布洛林,斯薇兹·昆茨,汤姆·斯凯里特,肯尼斯·威尔什,苏吉·凯塞尔
卡梅隆·达多,吉娜·格申,莎侬·多赫提,兰迪·奎德,罗伯特·瓦格纳,亚当·罗德里格兹,塞巴斯蒂安·斯宾赛,尼古拉斯·李,约翰·卡普洛斯,林蒂·布丝,詹姆斯·布洛林,斯薇兹·昆茨,汤姆·斯凯里特,肯尼斯·威尔什,苏吉·凯塞尔
塞巴斯蒂安·斯萨克,艾琳娜·拉尼娜,安东·庞布施尼,瓦谢斯拉夫·拉贝戈耶夫,桑扎尔·马季耶夫