Lolo

A spoiler light review of Lolo should begin with tone, because Julie Delpy understands exactly how this comedy ought to feel. Lolo gains early credibility from Julie Delpy, whose presence is balanced by the different rhythm of Dany Boon. The foundation of Lolo can be stated simply: Violette, a 40 year old workaholic with a career in the fashion industry falls for a provincial computer geek, Jean Rene, while on a spa retreat with her best friend. Within its 1h 39m running time, Lolo reveals both the benefits and the limits of that disciplined approach.

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Julie Delpy gives Lolo a directorial line that is engaging in bursts but unable to maintain the same control from its opening promise to its final movement. The staging of Lolo is strongest when Julie Delpy allows motivation to determine pace instead of reversing that priority. Viewed as a complete piece, Lolo confirms that worthwhile ideas compete with an uneven structure across most of the running time. A tighter version of Lolo would address how the pace alternates between hurry and drift, yet the surrounding work remains persuasive.

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The plot of Lolo is built around the uneasy relationship between Violette and Jean Rene. For Julie Delpy, that relationship gives Lolo an emotional objective stronger than simple forward motion. The screenplay associated with Julie Delpy lets the central character reshape the direction of Lolo in stages. Although the treatment of an important relationship could be sharper, Lolo never entirely loses the thread established at the beginning.

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The craft of Lolo is defined by well judged reactions, supported by well judged reactions rather than overwhelmed by decoration. The Film gives Lolo a production framework in which performer rhythm can remain connected to story. Made from a France production context, Lolo uses setting and design to clarify mood before dialogue has to explain it. The technical finish of Lolo works because image, sound and editing appear to be serving the same immediate purpose.

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What keeps Lolo emotionally readable is Julie Delpy, whose choices establish a consistent point of view. In scenes with Dany Boon, Lolo gains tension from two performers refusing to produce the same kind of energy. Vincent Lacoste contributes a separate rhythm to Lolo and helps the supporting material feel less purely functional. The direction by Julie Delpy gives the cast of Lolo room to connect the quieter beats with the larger ones.

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Lolo finds additional purpose in its examination of embarrassment, status and the gap between confidence and reality. Through the performance of Julie Delpy, Lolo makes that examination feel personal before it becomes broadly symbolic. The idea of Violette repeatedly returns Lolo to the cost behind its more visible developments. Julie Delpy is most persuasive when Lolo allows the theme to emerge from an uncomfortable choice rather than polished dialogue.

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The lasting judgement on Lolo is a qualified recommendation for comedy fans who respond to personality and timing. Lolo earns that response through the focus of Julie Delpy, the contribution of well judged reactions and the direction of Julie Delpy. It remains true that the pace alternates between hurry and drift during Lolo, which keeps enthusiasm measured. Still, Lolo understands the experience it wants to create and communicates that intention with recognisable personality.