Lola Rennt German Essay
Run Lola Run (German: Lola rennt, literally "Lola runs") is a 1998 German thriller film written and directed by Tom Tykwer, and starring Franka Potente as Lola and Moritz Bleibtreu as Manni. The story follows a woman who needs to obtain 100,000 Deutsche Mark in twenty minutes to save her boyfriend's life. The film's three scenarios are reminiscent of the 1981 Krzysztof Kieślowski film Blind Chance; following Kieślowski's death, Tykwer directed his planned film Heaven. The film was released on DVD on 21 December 1999 and on Blu-ray on 19 February 2008.
Run Lola Run screened at the Venice Film Festival, where it competed for the Golden Lion. Following its release, the film received critical acclaim and several accolades, including the Grand Prix of the Belgian Syndicate of Cinema Critics, the Audience Award at the Sundance Film Festival, Best Film at the Seattle International Film Festival, and seven awards at the German Film Awards. It was also selected as the German entry for the Best Foreign Language Film at the 71st Academy Awards, though it was not ultimately nominated.
Lola (Franka Potente) receives a frantic phone call from her boyfriend, Manni (Moritz Bleibtreu), a small-time criminal who has just collected 100,000 marks cash in his most recent crime. Lola had agreed to meet Manni at the crime scene and to drive him to deliver the money to his boss, Ronnie. However, when Lola's moped was stolen and she failed to arrive on time, Manni took a subway train. As he did not have a subway ticket, Manni panicked when he saw ticket inspectors and fled the subway, thoughtlessly leaving the bag with the cash behind. From outside, he saw a homeless man examining the money bag as the train departed.
Manni calls Lola from a phone booth and tells her that unless he raises 100,000 marks to give Ronnie within 20 minutes, Ronnie will kill him. Manni also tells Lola of his plan to rob a nearby supermarket. Lola implores Manni to wait and promises to find the money. She decides to ask her dad (Herbert Knaup), who is a bank manager, for help.
After this telephone call, the rest of the film is divided into three runs by Lola, in each of which she tries to obtain the money and save Manni. Each run starts from the same situation, but develops differently and has a different outcome. Each run has brief flashforward sequences that show how the lives of the people that Lola bumps into develop after the encounter.
Lola hangs up the phone and starts running (in an animated sequence) down the staircase of her apartment, past a punk with a dog, and (back in live action) through the streets of Berlin towards her father's bank and she collides with a woman pushing a baby carriage, who is shown to later steal a baby after having lost custody of her own. Continuing, Lola runs alongside a cyclist who offers to sell her his bike, which she refuses; a flash-forward shows him being robbed on his bike but later marrying a nurse from the hospital in which he recovered. Lola then causes a car crash, which involves her father's colleague, Mr. Meier, and three men in a white BMW. As Lola arrives at the bank, she passes a banker shown later to be paralyzed in a car accident, then killing herself shortly after. She meets her dad, who dismisses her request for help; he reveals that he's not her biological father and that he plans to elope with his pregnant mistress, and then has Lola escorted out of the bank. A security guard who consoles her is shown to later suffer a heart attack.
Meanwhile, Manni uses a blind lady's phone card to request money from a friend, only to fail. His friend says he can only give 500 marks which makes Manni angry. Lola keeps on running and ends up parallel to an ambulance that narrowly misses crashing into a glass pane carried by workmen. Lola runs on to meet Manni, who is about to begin the robbery. She shouts his name but he is unable to hear her and enters the store. Lola decides to help him. Once they obtain the money, they flee on foot but find themselves surrounded by police. Manni throws the bag with money up in the air, causing a nervous police officer to accidentally shoot Lola in the chest.
After that, Lola and Manni are shown lying in bed together. Lola recalls a conversation with Manni about their love, and whether she wanted to leave him. The movie returns to the dying Lola. Her decision was to not leave Manni, and she doesn't want to die. The film then returns to their phone call.
Lola again starts running, only to be tripped by the man with the dog. Falling down the stairs, Lola injures her leg, which makes her limp. Running to the bank, she collides with the woman pushing a baby carriage, who would later win the lottery and live a luxurious life. Passing the cyclist, she accuses him of stealing the bike he is selling; a flash forward shows he became homeless. Manni, again borrowing the blind lady's phone card, unsuccessfully tries to borrow money.
After causing another car accident between Mr. Meier and the white BMW, Lola arrives at the bank moments later; her delay due to her earlier injury allows her dad's mistress to explain he isn't the child's father. Lola hears them arguing. Infuriated, Lola leaves the bank but then comes back, takes the security guard's gun and robs the bank. A flash forward shows a banker she passes falling in love with a colleague. Lola escapes because the police mistake her for a fleeing hostage. Passing the ambulance, Lola asks for a ride, distracting the driver and causing the vehicle to hit the glass pane. Still late for the rendezvous with Manni by moments, Lola calls his name, only this time he hears her call. Manni walks towards Lola, only to be hit by the hastened ambulance, which fatally wounds him.
Manni recalls asking Lola how she would cope with his death. He believes she will have another boyfriend after his death but Lola says that he (Manni) is still alive. The film briefly returns to the present day and shows Manni refusing to die before restarting once again at the beginning of Lola's run.
Lola starts running again and leaps over the punk and his dog. Running to the bank, she avoids the woman with the baby carriage, who in a flash forward joins a church and devotes herself to God. Lola also narrowly misses the cyclist; the cyclist instead offers his bike to the homeless man in a restaurant, who uses Manni's money to buy it. Lola falls onto the bonnet of Mr. Meier's car, preventing his collision with the white BMW, allowing him to pick up Lola's dad on time. Since Lola can no longer speak to her dad, she continues running until she encounters a casino. Having only 99 marks, she convinces the cashier to give her a 100 mark chip. Betting the chip on a roulette table, she wins two consecutive bets, raising 126,000 marks. The people in the casino are shocked to see her win. Approaching the ambulance from behind, Lola climbs inside as it avoids the glass pane. Recognizing the patient inside as a security guard from the bank, Lola realizes he has suffered a heart attack. She holds his hand to calm him and, to the doctor's surprise, his heart rate immediately becomes normal.
Meanwhile, the blind lady points Manni towards the homeless man with his money, who passes on the cyclist's bike. Manni chases him with a gun, inadvertently causing a head-on collision between the white BMW, Mr. Meier, and the man who stole Lola's moped. Mr. Meier, Lola's dad and the thief apparently die in the crash. Manni manages to retrieve his money, trading it for his gun. Lola reaches the supermarket, but cannot find Manni. She shouts his name but there is no response. A little farther away, a car pulls up with Manni and Ronnie inside, who shake hands. Manni, no longer in need of the 100,000 marks, asks Lola what is in the bag she is carrying, only for the film to end in a freeze-frame on Lola's reaction.
The film features two allusions to Alfred Hitchcock's film Vertigo. Like that film, it features recurring images of spirals, such as the 'Spirale' Cafe behind Manni's phone box and the spiral staircase down which Lola runs. In addition, the painting on the back wall of the casino of a woman's head seen from behind is based on a shot in Vertigo: Tykwer disliked the empty space on the wall behind the roulette table and commissioned production designer Alexander Manasse to paint a picture of Kim Novak as she appeared in Vertigo. Manasse could not remember what she looked like in the film; therefore, he decided to paint the famous shot of the back of her head. The painting took fifteen minutes to complete. The bed sheets in the red scenes also feature spiral designs which add to the allusion.
There are also several references to German culture in the film. The most notable is the use of Hans Paetsch as a narrator. Paetsch is a famous voice of children's stories in Germany, recognized by millions. Many of the small parts are cameos by famous German actors (for example the bank teller). Also, two quotes by German football legend Sepp Herberger appear: "The ball is round, the game lasts 90 minutes, everything else is pure theory," and, "After the game is before the game."
The film touches on themes such as free will vs. determinism, the role of chance in people's destiny, and obscure cause-effect relationships. Through brief flash-forward sequences of still images, Lola's fleeting interactions with bystanders are revealed to have surprising and drastic effects on their future lives, serving as concise illustrations of chaos theory's butterfly effect, in which minor, seemingly inconsequential variations in any interaction can blossom into much wider results than is often recognized. (However, another explanation is that Lola's interactions with them didn't really cause anything. It's just that each person inherently has vastly different possibilities of life trajectory, a different version of which is explored and shown in the three iterations.) The film's exploration of the relationship between chance and conscious intention comes to the foreground in the casino scene, where Lola appears to defy the laws of chance through sheer force of will, improbably making the roulette ball land on her winning number with the help of a glass-shattering scream.
The thematic exploration of free will vs. determinism is made clear from the start. In the film's brief prologue, an unseen narrator asks a series of rhetorical questions that prime the audience to view the film through a metaphysical lens touching on traditional philosophical questions involving determinism vs. philosophic libertarianism, as well as epistemology. The theme is reinforced through the repeated appearance of a blind woman who briefly interacts with Manni in each alternative reality, and seems to have supernatural understandings of both the present and potential futures in those realities. The film ultimately seems to favor a compatibilist philosophical view to the free will question as evidenced by the casino scene and by the final telephone booth scene in which the blind woman redirects Manni's attention to a passerby, which enables him to make an important choice near the film's climax.
However, the film can also be regarded as emphasizing the free will side, as in each iteration, Lola improved the outcome by being more and more determined and assertive of her actions. Other characters' stories can be regarded as only asides to Lola's: they didn't take resolute and self-aware actions as Lola did so they got mostly random outcomes.
Several moments in the film allude to a supernatural awareness of the characters. For example, in the first reality, Manni shows a nervous Lola how to use a gun by removing the safety, while in the second timeline she removes the safety as though she remembers what to do. This suggests that she might have the memory of the events depicted in the previous timeline. Also, the bank's guard says to Lola "you finally came" in the third timeline, as if he remembered Lola's appearances in the previous two.
The soundtrack of the film, by Tykwer, Johnny Klimek, and Reinhold Heil, includes numerous musical quotations of the sustained string chords of The Unanswered Question, an early 20th-century chamber ensemble work by American composer Charles Ives. In the original work, the chords are meant to represent "the Silences of the Druids—who Know, See and Hear Nothing."
The techno soundtrack established dialectical relation between motives of the movie: Rhythm, Repetition, and Interval among various spatio-temporal logics. This produces unification of contradictions like Time and Space or The cyclical and the linear.
Run Lola Run was filmed in and around Berlin, Germany. Here are some of the locations:
- Lola's apartment: The apartment block is located at 13–14 Albrechtstraße, Berlin-Mitte, near Friedrichstraße railway station.
- U-Bahn (underground) train overpass: The location is on the north corner of Falckensteinstraße and Oberbaumstraße.
- Bridge passageway: Oberbaumbrücke
- U-Bahn station in the middle of the road: It is the south entrance of Französische Straße U-Bahn station. The entrance is actually located on Friedrichstraße. Lola appears from Jägerstraße, runs across the road and then around the corner in to Französische Straße. The actual path Lola takes differs from run to run.
- The nuns: North end of Mauerstraße.
- Lola and the cyclist: Further south of Mauerstraße. The cyclist appears from Französische Straße.
- The corner of a building Lola runs around and encounters the street bum (Runs 1 & 2, no Bum in 3 though): Corner of Ziegelstraße and Monbijoustraße.
- Shop underpassage: The shop underpassage that Lola runs in Run 1 is on corner of Charlottenstraße and Französische Straße.
- Deutsche Transfer Bank: The bank is located at the corner of Behrenstraße and Hedwigskirchgasse, near the Opera. The actual location is Behrenstraße 37.
- Square tile pavement: Gendarmenmarkt and the Konzerthaus.
- The supermarket: South-west corner of the intersection of Osnabrücker Straße and Tauroggener Straße.
- Lola runs in front of lorry: The corner of Hinter dem Gießhaus and Unter den Linden, in front of the Deutsches Historisches Museum.
- The Casino: The exterior of the casino is located on Unter den Linden, facing the Deutsches Historisches Museum.
- Lola gets shot: North end of Cuvrystraße.
- Manni getting arrested: Deutsche Oper U-Bahn station.
- Herr Meier coming out of his garage: The location is 23–24 Wallstraße.
- The Ambulance and glass: Intersection of Buchholzer Straße and Greifenhagener Straße. Lola and the ambulance start at the south end of the Greifenhagener Straße and travel north.
- The 2 cars and scooter crash: Intersection Hussitenstraße and Max-Ulrich-Straße.
- Wishing that Manni would wait: Shortly after Strausberger Platz, along Karl Marx Allee, running east. In the film the Fernsehturm is obscured by the trees.
As of October 2017[update], the review aggregatorRotten Tomatoes reported that 93% of critics gave the film positive reviews, based on 81 reviews. As of October 2017[update], the IMDb reported that 7.7 score out of 10, based on 169,907 reviews. On Metacritic, another review aggregator, the film had an average score of 77 out of 100, based on 29 reviews, stating the film as having "generally favourable reviews".
In contrasting reviews, Film Threat's Chris Gore said of the film, "[It] delivers everything great foreign films should—action, sex, compelling characters, clever filmmaking, it's unpretentious (a requirement for me) and it has a story you can follow without having to read those annoying subtitles. I can't rave about this film enough—this is passionate filmmaking at its best. One of the best foreign films, heck, one of the best films I have seen", while Jonathan Rosenbaum of The Chicago Reader stated, "About as entertaining as a no-brainer can be—a lot more fun, for my money, than a cornball theme-park ride like Speed, and every bit as fast moving. But don't expect much of an aftertaste."
The film was nominated for dozens of awards, including the BAFTA Award for Best Film Not in the English Language. It won several, including the Grand Prix of the Belgian Syndicate of Cinema Critics, the Audience Award at the Sundance Film Festival, Best Film at the Seattle International Film Festival, and seven separate awards at the German Film Awards. Lola Rennt was ranked number 86 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. It was also nominated for the Golden Lion at the 55th Venice Film Festival, and a European Film Award in 1998.
Run Lola Run was selected as the German entry for the Best Foreign Language Film at the 71st Academy Awards, but not ultimately nominated.
The music video for It's My Life by Bon Jovi, released in 2000, was inspired by the film. The film was the initial inspiration for the three-day cycle in The Legend of Zelda: Majora's Mask, a video game also released in 2000. In animated series, The Simpsons parodies Run Lola Run in 2001's "Trilogy of Error" and Phineas and Ferb features a 2011 episode titled "Run, Candace, Run." The series SMILF includes a 2017 episode ("Run, Bridgette, Run or Forty-Eight Burnt Cupcakes & Graveyard Rum") which references the film. Music video for Walk me to the Bridge by Manic Street Preachers directly references the movie through out the length of music video. 
- ^"Run Lola Run (15)". British Board of Film Classification. 21 June 1999. Retrieved 8 November 2016.
- ^ ab"Run Lola Run". The Numbers. Retrieved 2015-06-24.
- ^ ab"55th Venice Film Festival 1998 - FilmAffinity". FilmAffinity. Retrieved 2017-10-28.
- ^ abMargaret Herrick Library, Academy of Motion Picture Arts and Sciences
- ^ ab"45 Countries Submit Films for Oscar Consideration". Academy of Motion Picture Arts and Sciences. 19 November 1998. Archived from the original on 19 February 1999. Retrieved 20 October 2015.
- ^Tom Tykwer, commentary on the DVD edition of the film.
- ^Lewy, Jessica (2015-02-04). "Run Lola Run and Vertigo". Lafayette College. Retrieved 2016-06-12.
- ^Hubber, Duncan (2010-05-13). "Run Lola Run (film essay)". Slam Dunk Studios. Retrieved 2016-06-12.
- ^Saporito, Jeff (2015-06-08). "How does "Run Lola Run" demonstrate chaos theory's butterfly effect?". Screen Prism. Retrieved 2016-06-12.
- ^Ganesan, Prasanna. "Chance, chaos and coincidence". Stanford University. Retrieved 2016-06-12.
- ^"Run Lola Run". Review Essays. Retrieved 2016-06-12.
- ^Milton, Joshua (2012-12-06). "Summary — Run Lola Run (Lola Rennt)". Retrieved 2016-06-12.
- ^Puzzle films: complex storytelling in contemporary cinema, by Warren Buckland, Wiley-Blackwell, 2009, pages 137–138
- ^Lola rennt – Berlin Locations. About.com. Retrieved November 18, 2010.
- ^"Run Lola Run". Rotten Tomatoes. Retrieved 2008-09-21.
- ^Tykwer, Tom (1999-06-18), Run Lola Run, Franka Potente, Moritz Bleibtreu, Herbert Knaup, retrieved 2017-10-28
- ^"Run Lola Run (1999): Reviews". Metacritic. Retrieved 2008-09-21.
- ^Gore, Chris (1999-06-28). "RUN LOLA RUN". Film Threat. Retrieved 2008-09-21.
- ^"Run Lola Run: Capsule by Jonathan Rosenbaum". Chicago Reader. Retrieved 2008-09-21.
- ^"European Film Academy : 1998". www.europeanfilmacademy.org (in German). Retrieved 2017-10-28.
- ^Alex Gernandt: Bon Jovi, 2. edition, Goldmann, München 2001, ISBN 3-442-42851-3, p 261
- ^Lamoreux, Ben (12 November 2014). "Aonuma Reveals the Inspiration for Majora's Mask". Retrieved 28 November 2017.
- ^Canning, Robert (11 August 2008). "The Simpsons Flashback: "Trilogy of Error" Review". IGN. Retrieved 14 May 2017.
- ^"Run, Candace, Run/Last Train to Bustville". IMDb. Retrieved 13 February 2018.
- ^"Run, Bridgette, Run or Forty-Eight Burnt Cupcakes & Graveyard Rum". IMDb. Retrieved 13 February 2018.
There’s no answer, only possibility. Postmodern followers have been spreading through art its philosophical beliefs. More specifically, there’s a wide range of postmodern films embodying the concept of non-linearity, contradiction, fragmentation and instability. Great examples of this include Quentin Tarantino’s world-wide-known Pulp Fiction (1994) and Ridley Scott’s Blade Runner (1982). Until this day, film critics mention both when describing famous postmodern feature films. Representing the genre outside the Hollywood walls, German Tom Tykwer’ Lola Rennt (1998) is an eighty-minute picture motion complete with paradigms of thoughts, non-conventional narrative structure and cinematography full of elements that are evidently performed to characterise the screenplay as another great example of the kind. Tom Tykwer claims: “cinema that interests me is cinema about openings, unresolved questions and experiments; cinema that explores the possibilities offered by narrative and by associations, without refusing chaos, chance, destiny or the unexpected” (Film Education, 2010). In this critical analysis, Run Lola Run’s cinematography will be analysed in terms of its mise-en-scene, sound and music and camera techniques.
The movie has a non-conventional opening scene that lasts for about four minutes. Quotations from the poet T.S. Elliot and German football coach Sepp Herberger, combined with a voice over questioning – ironically – why people are so worried about the meaning of life, leads the viewer to accept the idea that what they are about to watch is pure fiction. All characters are presented to the audience as part of the “game” that is about to start. “The ball is round, the game lasts 90 minutes, everything else is pure theory” says Herr Schuster looking straight to the camera before kicking a soccer ball and starting “the game” – Lola’s journey.
Tykwer’s story is fast and breath-taking from the beginning until the last minute. The movie starts with Lola accepting a disturbing phone call from her boyfriend Manni (who belongs to a gang), whose job is to collect and deliver money to the gang’s leader. The problem starts when he forgets the bag with one hundred thousand German marks inside the train. Due to his boss’ temper, Manni knows that if he doesn’t deliver the money within twenty minutes he will suffer severe consequences. Desperate, he calls Lola and begs her to get the money before twelve o’clock; otherwise he will rob a local market (Wikipedia, 2013).Lola immediately starts running in order to save her lover’s life. She sees her father, who works in a bank, as a chance to get the money in time to meet Manni and prevent him from making a big mistake.
Lola Rennt is an excellent example of a postmodern film that, contrasting with Modernism concept, there’s no ultimate answer to everything but different perspectives. After failing at her first attempt to save Manni, like a “time machine”, Lola restarts her journey against time to get the money. Have said that, it is important to highlight that she does not go back in time but instead has opportunities to change the events according to her choices. Lola’s adventure is presented in a series of possible states and with an interesting and non-linear narrative structure. If Lola in fact went back in time, she would prevent the events and the story would become logical trying to time the best way to get what she wants. Instead, the past is displayed to the audience as a series of alternatives. Lola’s approach isn’t rational because she is being hooked into this course of events that only requires her action. This fact is clearly demonstrated through the people Lola encounters in her way. Wherever Lola changes her course, she changes the circumstances for the others, thus changing their ending (Shaner, 2010).
During the second and the last attempts to save Manni, it is noticeable that Lola has learnt something from the previous sequences to succeed in her journey. As an example, at her first “run”, while they are robbing the local store, Manni teaches her how to unlock the safety’s since she had never used one before. In her second “run”, Lola sees herself having to threaten her own father with a gun in order to get the money and, like a memory reflex, she unlocks the safety precisely. Another implication suggesting that they are reviving the events is the dialogues scenes separating each running. In these intimate scenes both are lying side by side at the bed apparently without clothing and smoking cigarettes. Manni asks Lola what she would do if he’d had died. Lola answers that he “hasn’t died yet” and once more Lola is running down stairs in order to save Manni’s life.
Not only the script is very well written but the techniques used induce the audience to follow Lola in her journey. The arrangement of scenery and properties in Run Lola Run is quite detailed and well organized. The mise-en-scene has a lot of external scenes from the streets of Berlin. In reality, the city is mostly crowded but as a choice of the director, as a manner to emphasise Lola and Manni’s distress, the streets are calmer and serene. The Internal scenes include Lola’s house, her father’s bank, the supermarket where Manni and Lola rob, the subway and the casino. All scenery was decorated in accordance with the reality. For example the supermarket is populated by mid-class people whereas the casino has good-looking people. This visual information gives the audience a better sense of reality (Özer, 2011).
An interesting way used in film to demonstrate the character’s feeling and thoughts without the use of speech or action is through symbolism (Symbolism in Run Lola Run, n.d.). Tykwer uses colours and spirals to give the perfect visual style for this movie. Lola’s red and Manni’s yellow. Red is the colour which represents dangerous, passion and love. Lola’s red hair represents her powerful and aggressive character and her passionate feelings towards Manni. To accentuate the passion between Lola and Manni, such as in the scenes where they are in bed having discussing their relationship, emphasising with the hot colour the idea of their love story. The yellow colour represents dangerous and apprehension to the story. Manni’s hair, the telephone booth and the local store are elements of anxiety and tension to the movie. A symbol present in some of the most important scenes of the movie is a spiral. Behind Manni’s yellow telephone booth is written Spirale and a big rotating spiral. Sometimes it isn’t so evident, for example, the small spirals stamped at Lola’s pillow covers seem in the dialogue between them. This symbol adds the feeling of confusion and desperation that both characters have been affected with during this crushing sequence of events.
The director has chosen to utilize non-conventional camera techniques. Run Lola Run uses two different and distinct cameras; a camera with high resolution (35mm) and low resolution. The high resolution camera is used for Lola and Manni’s scenes whereas the low definition camera is used in scenes which don’t involve the couple (Film Education, 1999). Manni and Lola’s scenes have visibly better definition which contrasts with, for example, her dad and his mistress’ scene, where the definition is low and granny. Tykwer wanted to give the scenes without Lola and Manni a sensation of illusion, resembling it as an artificial world as in a video game. The scenes rich in lively colours gives to Franca Potente and Moritz Bleibtreu’s characters the sensation of what it’s happening to them is real.
In addition with the fast editing, the sounds and music add action to the film. For example the red telephone ringing, the dialogue between Manni and Lola and the tick of the clock, all these diegetic sounds bring the audience’s attention to the silver screen. An important element to the film though is the soundtrack. The techno music conducts the spectator to follow Lola’s rhythm and share her anxious feelings. The soundtrack is another indicative that Lola is reliving the same circumstances. Like mentioned before, Lola is displayed to different occasions which force her to change her course and act dramatically different between them. Through the non-diegetic sound, the audience experience three different “running”. For example, at her first attempt to save Manni, the beat is stronger and faster, compared to the third, where the music is softer. It gives the sensation that in her last attempt, Lola’s more assertive about what she is going to do.
Run Lola Run keeps the audience attention from the beginning until the end through its original visual style and well selected soundtrack that combined generates an explosion of tension, adrenaline and suspense. The movie is bursting with postmodern elements which has gained its place as one of the great films from the genre and conquered the public with its twisted narrative, irregularity and discontinuity. Tom Tykwer’s awarded movie is a great option for those who enjoy appreciating cinema as art or simply enjoy a good action movie.
Film Education. (2010, April 9). Run Lola Run. Retrieved from Film Education: http://www.filmeducation.org/pdf/resources/secondary/Run_Lola_Run.pdf
Mega Essays. (n.d.). Symbolism in Run Lola Run. Retrieved from http://www.megaessays.com/viewpaper/69791.html
Özer, V. (2011, January 3). Analysis of Run Lola Run. Retrieved from Academia.edu: http://www.academia.edu/1819589/Analysis_of_Run_Lola_Run
Shaner, M. (2010, May 5). Fourth Analysis: Post-modernism in Run Lola Run. Retrieved from Major Critical Theories: http://crittheory-mcs.blogspot.com.au/2010/05/fourth-analysis-post-modernism-in-run.html
Tatali Weebly. (n.d.). Run Lola Run: character techniques/director. Retrieved from http://tatai.weebly.com/run-lola-run-director-techniques.html
Wikipedia. (2013, May 13). Run Lola Run. Retrieved from Wikipedia, the free encyclopedia: http://en.wikipedia.org/wiki/Run_Lola_Run