Lola

Waiting for her first love's, Michel, return who's been gone for about seven years, Lola seems to have come to terms with the fact he's gone forever. it's just some sort of a desperate longing that would easily fade away hadn't been for lasting memories that one can't help recalling. In Jacques Demy's Nantes, poignancy of loss reigns supreme — whether it's of love or dreams or whatsoever — in spite of its breezy air. In Lola, there's also effortless interlacing between each character that cross paths with another, dredging up each other's long-forsaken memories and, more or less, rejuvenating them through mutual interactions. Having been introduced to the background of Roland Cassard here, I loved how Cherbourg continued his path while bolstering the circular nature of Lola. Aside from a silly plot diversion revolving around Frankie and fourteen-year-old Cécile, cabaret numbers tossed in for some reason and a few plodding moments as it's nearing its third act, Lola is a decent debut of unrequited love and disillusionment, injected with a sense of ennui and a spirit of carefree in equal measure, and featuring beautiful black-and-white wide shots, hand-held constantly-moving camera and light-weighted humour.