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One Hour Mark: Run Lola Run

Via split-screen, 1:00:00 into Tom Tykwer’s Run Lola Run (1998), we see two figures in motion. On the left is a stern, balding banker fresh from a rendezvous with his mistress, marching off to get a ride from a colleague. On the right is his daughter Lola (Franka Potente), a twentysomething slacker with dyed hair and a boyfriend in distress. During the first 2/3 of the film, as Lola’s lived out two of her “lives,” we’ve seen them cross paths twice—both times with disastrous consequences. Luckily for Lola, though she doesn’t know it yet, she’s about to miss him by mere seconds.

Third time, as they say, is the charm. In Tykwer’s Berlin, people are subatomic particles, running along their own paths and sometimes colliding arbitrarily. Just a mild change to each scenario—too quick at first, then too slow, and finally just right—produces drastically different results. And because mild changes are so powerful, because every second is as vital as an hour to Lola’s mission, she can never stop running. She’s a perpetual motion machine, channeling all her stress and fear into running faster.

Potente, by the way, gives a physically incredible performance. Her actions have such focus to them: she’s all but a superheroine, fighting space and time themselves. Feral and springy, she has literally no time for social niceties; she’s a woman who only exists from moment to moment. As such, she cuts straight through her father’s hypocritical midlife crisis bullshit. On a purely visual level, for example, compare her blurry sprint to her father’s polite, business-oriented gait. She’s the one with somewhere to go and something to lose.

Every element of the mise-en-scène heightens this contrast: the brown, gray, and black of the father’s suit and surroundings vs. Lola’s striking red, blue, and green; the father’s movement forward into a tracking shot vs. Lola’s side-scrolling velocity; and the fact that the father has been shot on video, whereas the footage of Lola is on 35 mm. This last trick has the added bonus of making the father’s scenes with his pregnant mistress look cheap and grainy, fittingly like a bad TV drama. It’s a subtle way of endorsing Lola’s reality as authentic and meaningful.

Fundamentally, then, this image visualizes a generation gap. It’s the divide between Lola, the jobless “weirdo,” and her unfaithful, paternity-disavowing father. Run Lola Run itself comes down hard on Lola’s side, that of the youth. It’s a film about running, not thinking; it prefers mindless kineticism over adult stagnation. Furthermore, as a product of 1998, it’s very much in touch with the (still-relevant) millennial hysteria, the pre-Y2K anxieties over an unknowable but imminent future. As Heisenberg would tell us, it’s impossible to predict what’s coming. Like Lola, the best we can do is run.

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