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.
真挚的情感在那个年代的衬托下更加温柔动人。没想到是伪纪录形式,部分构思有点想起《乡锁》但完成度好于《乡锁》。You can not kill 【哔——】和《You really got me》两段最佳。
我………可以说是非常不喜欢这部电影。在我看来非常儿戏。
架空历史,未来预测,蝴蝶效应,拼贴,伪记录,超八,这些加一起太间离了,看不下去
演技极其浮夸。。竖大拇指是什么时候开始流行起来的?
用科幻架空历史,探讨一个火车变轨式的道德难题,以及由此产生的情感羁绊。又一位爱尔兰黑马导演的处女长片,完成度非常高,一点点化解观众的漠然和自作聪明,并最终被打动。
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