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, th全片39分钟,前三分之二的时间就是为了这一场满足欲望的战斗,这个逻辑我无法理解,最后来了根事后烟,把酒店喷头激活了,完成了男主最后的喷射(顺便说下,女主可是个有疤的女人)高清中字2DF9DF96DBC3ABA12AFF3A53F3519BEFB36E00B1at 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.
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