On the face of it, it seems that Lola and Manni inhabit a world in which there is no order and stability, no right and wrong, no real moral purpose. The disjointed narrative and innovative style of the film reinforce this original impression.
That being the case, Lola and Manni appear like a couple of puppets being jerked here and there on a string, pure victims of circumstance. This especially applies to Manni as he’s the one who’s been kidnapped by a gang of criminals.
Yet beneath the chaotic surface, there’s a semblance of order. Actions have consequences, as Lola soon discovers for herself. The theft of her moped acts as a catalyst for a series of events that give content and shape to the narrative, even though this narrative is being told in a highly innovative, experimental manner. It’s as if we as the audience are being invited to ignore the film’s surface—which is easier said than done—and pay attention to the substance beneath. And that substance has a certain...
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