It’s the 1940’s, and two sisters have developed a way to intercept radio and television signals from the future. Their invention is called LOLA, and they now have one of most advanced pieces of technology ever–and they plan to use it to intercept music from some of the greatest musical minds of all time, including David Bowie. However, as World War II rages on and lives are lost–this technology will prove to be far more important, and far more detrimental than the sisters could have imagined.
I love the old-timey look of LOLA, as it immediately pulls viewers into the narrative and expresses to them that they will not only navigate this story, but that they will transcend space and time as well. This instantly makes for a fun film, for something that will greatly appeal to viewers and allow them to buy into this unique (and potentially corny) storyline. As I was pulled back into the 1940’s, I found myself mesmerized by the simplicity of what was shown. Simplicity sounds like I’m knocking what these filmmakers did in LOLA, but that’s not the case at all. As I navigated a time and place so drastically different than mine, I needed to remain grounded, I needed the film to remain accessible to me. I can’t be sure of the validity of the things that I saw and heard throughout the course of LOLA, but I have to be able to believe and accept them–and as a result of that aforementioned simplicity I was able to do just that.
LOLA is a found-footage film, one that showcases the journey of the two sisters, Martha (Stefanie Martini) and Thomasina (Emma Appleton), in audio-visual recordings of their escapades. With this Writer-Director Andrew Legge and Writer Angeli Macfarlane have to make this story as personal to those two characters as possible. It can’t just be a film that showcases the sisters’ story, but it has to be one that prominently features the characters in an intimate fashion. As a result of this both Thomasina and Martha are often seen up close and personal, with their faces just inches from the camera, explaining to potential audiences exactly what is taking place. This, much like the simplicity of the visuals, works toward inviting viewers into the film. We often feel like Martha and Thomasina are speaking directly to us, that it’s important to them that we understand them and their purpose. This intimacy is so important to LOLA, and Legge does a spectacular job of ensuring that viewers are allowed access throughout the duration of the film.
It’s interesting to see the two sisters develop. It’s not really necessary for them to grow in certain ways, or for either of the actors to bring them to life in fantastic fashion–and the odd nature of LOLA would be somewhat forgiving in the sense that this aspect of it doesn’t need to be perfect. Even through the cheesiness that exists in each of the characters, Appleton and Martini do a good job of bringing them to live and making them accessible. The characters, too, are odd–and the simplistic, relatable nature of these performances allow them to come to life in a way that really works for LOLA.
I only have one issue with LOLA, and that’s the fact that it’s a tad convoluted. It’s a historical, science-fiction thriller that transcends the depths of world history and the human psyche–and sometimes there’s a ton of information to digest. It sometimes dives too deep and forgets to ground itself, and in those moments I just felt lost with no connection to the film.
While there are instances of the recently aforementioned existing throughout LOLA, the film tends to do a pretty good job of keeping its feet on the ground, of remembering to balance itself. I’m honestly impressed with LOLA, as it does a nice job of capturing a time in which the world seemed to be falling apart, while still remaining true to its unique story. Simplicity, through the successful parts of the film, is what ultimately allows it to work, and Legge effectively did a brilliant job of bringing it to life.
Directed by Andrew Legge.
Written by Andrew Legge & Angeli Macfarlane.
Starring Emma Appleton, Stefanie Martini, Theodora Brabazon Legge, Francesca Brabazon Legge, Eva O’Brien, Rory Fleck Byrne, etc.
⭐⭐⭐⭐⭐⭐⭐⭐/10
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