I love when a movie reminds me why I like movies. Lola, directed by Andrew Legge and co-written by Legge and Angeli Macfarlane is one such film. Martha (Stefanie Martini) and Thomasina (Emma Appleton) are a plucky pair of siblings in 1940’s England. The two devise a machine they have dubbed LOLA that can pick up television broadcast signals from the future. Teetering on the precipice of World War II, this device promises to save countless lives and ensure victory. Of course, the future is never clear, and when you toy with it, things can get even worse. Shot in an early found footage fashion this bracing sci-fi thriller recalls the likes of similar lo-fi mind-benders like Primer and Something in the Dirt, with its judicious use of effects, a convincing story, and strong performances that come together for one fun ride.

As mentioned the movie is “found footage” but don’t let that repel you. There’s a clever, even plausible use of the format here. Titles explain that we are about to see raw footage that was discovered in England. We cut to Martha (Stefanie Martini) speaking to the camera, ominously begging her sister Thomasina (Emma Appleton) to stop what they are doing. Okay, intrigued. A few grainy splices and sound pops later, we jump to the exciting time that documents how Martha and Thomasina are constructing the titular machine. What does LOLA do? LOLA is a machine that picks up television broadcasts from the future visible through a rudimentary screen. In the midst of another world war, Martha and Thomasina decide to use their tool to warn the public of incoming German raids. This, of course, piques the interest of the military, in particular, Sebastian (Rory Fleck Byrne) who believes that LOLA could be used to win the war.

Initially, their plan works and works well. Lives are saved, Germany is sent scampering back to the Fatherland, and Martha and Thomasina are inducted into the military. Alas, we all know what toying with timelines does. Legge and Macfarlane‘s crackerjack script makes us believe that some good can come from this.

From a technical standpoint, Lola is a sharp piece of work. Rigidly maintaining the found footage pretense we are treated to a host of techniques that construct an invented past.  Oona Menges‘ photography pulls us into the grainy world of archival footage while Colin Campbell‘s adroit editing mimics the uneven chaos of discovered film. There is also a shrewd use of visual effects that only furthers the narrative of another unpredictable and sometimes chilling future.

At the core of it all is a hive of talent that includes Martini and Appleton as the inventive pair of siblings, Macfarlane as co-writer, and Legge’s inventive directional hand. All of this comes together for a cerebral, sci-fi thriller that works. Such a simple concept, such an elegant execution. Catch Lola when you can.