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故事要义
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.
观众心声
一点都不严肃，刻意表现出来的幽默却又很廉价
二战中德意志第三帝国获胜的架空历史科幻片，黑白胶片的拍摄手法却没能有多少复古感，倒是部分记录二战名人的片段有点让人真假莫辨；电影里通过收看未来播出的广播电视节目的姐妹两，通过给当局透露德军战况，最终引起了时间线变动的蝴蝶效应，改变了既定的战局。很有《高塔奇人》和《1984》的既视感。
聆听那1984之声
太棒了，看得流眼泪，战争…战争从未改变
前半段特别好，一段窥探未来后被未来艺术装点的时光，尤其是两位女演员在黑白做旧胶片的风格之下显得格外迷人。后半段转到改变二战历史后就显得比较平庸了，碍于伪纪录片的选择也无法走向历史被改变的方向。最后的照片确实会让人第一时间想到《闪灵》。 3.5
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