Directed by: Nicola Peltz Beckham
Distributed by: Vertical Entertainment
Written by Jeff Sparks
65/100
Many directorial debuts simultaneously come across as amateur and advanced at the same time, boasting interesting ideas with unpolished execution. “Lola” is the first 2024 release that fits this description. Written and directed by Nicola Peltz Beckham, the film stars her as the titular character. When she’s not dancing at the strip club or working her day job at the gas station, Lola is looking out for her younger brother who is constantly being mentally abused by their God-fearing mother who is determined to convert her children into her world view. By scrounging tips or sneaking the occasional item from the store, Lola is determined to save up enough money to move away with her brother to a better place until a series of events bring her plans crumbling down. After introducing us to her dysfunctional family, Peltz’s next order of business is to lay out Lola’s daily schedule and how she experiences it. Upon being picked up by her friend Babina (Raven Goodwin) the two begin the drive to work with Lola smoking a cigarette, leaning out the window as she takes in the familiar world around her. Afterward, she spends time with her brother before heading to work at the club. Despite working two jobs that she dreads, Lola still manages to keep her head high although her way of doing that isn’t exactly pure. When she’s not using drugs she’s hanging with her sleazy ex who she only keeps around since he’s a dealer. Despite not being a saint, Lola truly does care for her brother whose desire to express himself is crushed by their overbearing mother. Lola is there for him though, offering her support and guidance as he discovers who he is.
When I say the film feels advanced and amateurish at the same time there are a number of aspects you can point to that feel inconsistent to each other in the overall context of the film. Most notably, Virginia Madsen unfortunately feels miscast as the mother which creates a disconnect in some scenes when she’s going toe to toe with Peltz Beckham who excels in her role while Madsen comes across like she’s in a different movie. Another glaring issue is the writing which is too on the nose at times. In the grand scheme, those issues are marginal. “Lola” is a film that has more positives than negatives. Peltz Beckham is tremendous as the lead. Rarely do I see a performance where an actor truly disappears into a role, making their character feel like a real person whose life I’m peering into. Her facial expressions alone put her among the best performances of the year. Every glance she makes says a thousand words. The cinematography excels, especially with Peltz Beckham often making the expert decision to allow the camera to linger on her in a particular string of scenes that sees her as distraught, heartbroken, and defeated, all without saying a word. “Lola” may be rough around the edges, but at the end of the day, it is a directorial debut. The passion Peltz Beckham put into this project is evident and for that reason, her career should have a bright future.
“Lola” Trailer
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