But the difference between them doesn’t get a chance to go much deeper than light and dark, blonde and brunette, as Legge and his co-writer Angeli Macfarlane have too much fun dubbing archival footage (so real 1940s politicians can’t seem to do).

The snippets of footage we see are enough to tell that Martha was the more sociable and outspoken of the Hanbury sisters, while the brooding Thomasina – dangerously under the spell of her own brilliance – was less romantic in her ideas of science and humanity. It’s good that Martini and Appleton radiate a noticeable screen presence, because the form of Legge’s film doesn’t allow them much else. It makes sense that Martha’s narration is neither overly impressed with LOLA’s creation nor surprised that she and her sister were smart enough to invent it, and so the film that “she makes” is able to take on a no-nonsense approach that allows it allows to skip its effects. Everything is conveyed in hindsight and with the serene restraint of a front-line report. Shot by Oona Menges in blurry monochrome (her images are adorned with perforated borders, faux damage, and various other types of digital wear and tear to make it look like they’ve been sitting in a box for almost a century) and the music is by The Divine Comedy frontman Neil Hannon (whose percussive harpsichord bangers give shape to the first half of Legge’s film and whose fascist parallel universe pop songs about the sound of marching feet and the dangers of “fraternizing with perverts” give the second half Legge’s film its sly comedy ), “LOLA” scrubs through the years with little regard for conventional drama. “I want to show you how history can be made and undone,” Martha’s words crackle over the phonograph-quality voice-over track as Legge’s debut returns to the days of LOLA’s creation and from there at newspaper speed forward shoots to rotate the screen.

They also used LOLA to help Britain get ahead of the Nazis, a plan that seems to have backfired so much that Martha felt compelled to make this film as a kind of cautionary tale for her sister – a request to stop the madness in front of them time up. With LOLA’s power, Martha and Thomasina fell in love with David Bowie’s music before he was born, became obsessed with Stanley Kubrick films before they were made, and learned about female empowerment at a time when many young women their age were still halfway through their lives stuck Victorian era. It featured a first-person documentary about two beautiful and brilliant sisters who invented a machine that intercepted radio waves from the future, named the device “LOLA,” and then used their towering, oscilloscope-like device contraption to gain glimpses of the world Come. The premise is enticing enough to capture your imagination for most of the film’s brisk 79-minute run: In 2021, a mysterious cache of meticulously worked old celluloid has been found in the basement of a Sussex country house once owned by Martha and Thomasina Hanbury discovered (played by Stefani Martini and Emma Appleton respectively). Ash grey hair asian.Andrew Legge’s collage-like ‘LOLA’ is an immensely clever and imaginative micro-budget time travel film in the tradition of ‘La Jetée’, ‘Primer’ and last year’s wacky Japanese marvel ‘Beyond the Infinite Two Minutes’ authentic newsreels from the period of World War II along with fictional home videos to create a (very modern) found footage sci-fi story that feels like someone made it in 1941, or at least 2006 by Guy Maddin.

Blonde brilliance