After the death of her adopted parent's Lacy Graham tries to build a relationship with her natural mother Samantha, this is made difficult by Samantha's struggle with mental health. Just as they start to bond the unthinkable happens, Samantha is kidnapped, who can she trust, a strange ex copper, her weird friends or has a distant relative set his sights on revenge for her father's actions?

影片以两对母子为故事主线，一对求生、一对向死，在偶然的时间交汇出一段悲欢离合的故事。

After the death of her adopted parent's Lacy Graham tries to build a relationship with her natural mother Samantha, this is made difficult by Samantha's struggle with mental health. Just as they start to bond the unthinkable happens, Samantha is kidnapped, who can she trust, a strange ex copper, her weird friends or has a distant relative set his sights on revenge for her father's actions?

托比是个小男孩，妈妈去世后父亲忙于工作，无暇照顾他，不得已把他送回奶奶家暂住。托比的奶奶是个表面上严肃古板的老太太，整日忙于自己的社交生活。孤独的小托比在老房子里发现了一个魔法阁楼，里面发现了很多破旧的玩具。意外的，他在里面找到一只妈妈留给他的绒布小兔子，托比终于找到了一个小玩伴，并且全心全意的爱着这只小兔子，把对妈妈的思念都寄托在这只小兔子身上，无论到哪都带着它。托比终日在自己所想象的世界里和小兔子，天鹅和小马玩耍，直到托比感染了猩红热病毒，卧病在床。医生说他所有的玩具都要烧掉，小兔子面临被烧毁的命运。但爱让世界变得真实，由于小男孩对它的爱，它竟然变成了一只真的兔子，让那个家喻户晓的童话故事成真。

托比是个小男孩，妈妈去世后父亲忙于工作，无暇照顾他，不得已把他送回奶奶家暂住。托比的奶奶是个表面上严肃古板的老太太，整日忙于自己的社交生活。孤独的小托比在老房子里发现了一个魔法阁楼，里面发现了很多破旧的玩具。意外的，他在里面找到一只妈妈留给他的绒布小兔子，托比终于找到了一个小玩伴，并且全心全意的爱着这只小兔子，把对妈妈的思念都寄托在这只小兔子身上，无论到哪都带着它。托比终日在自己所想象的世界里和小兔子，天鹅和小马玩耍，直到托比感染了猩红热病毒，卧病在床。医生说他所有的玩具都要烧掉，小兔子面临被烧毁的命运。但爱让世界变得真实，由于小男孩对它的爱，它竟然变成了一只真的兔子，让那个家喻户晓的童话故事成真。

传说中，在一个青翠碧绿的山谷，复活节的兔子们便居住于此。他们一整年都在忙碌，齐心协力准备复活节的彩蛋。兔子们分工明确，一丝不苟，有的专门负责熬制巧克力，有的负责扣模，有的则为巧克力装点上色。他们中还有一些是出色雕塑家，经其之手，巧克力被雕成了活灵活现的兔子形状。另一边，母鸡军团也分外忙碌，她们生出的鸡蛋经特殊管道分发给上色的兔子们，这群小家伙心灵手巧，用彩虹滴下的色彩调浆，各呈其能，绘制出一枚枚好看的彩蛋。兔子王国的小家伙们通过辛苦的努力，为世界各地的小朋友送上最好的复活节礼物。 　　本片荣获1934年威尼斯电影节最佳动画片奖。

传说中，在一个青翠碧绿的山谷，复活节的兔子们便居住于此。他们一整年都在忙碌，齐心协力准备复活节的彩蛋。兔子们分工明确，一丝不苟，有的专门负责熬制巧克力，有的负责扣模，有的则为巧克力装点上色。他们中还有一些是出色雕塑家，经其之手，巧克力被雕成了活灵活现的兔子形状。另一边，母鸡军团也分外忙碌，她们生出的鸡蛋经特殊管道分发给上色的兔子们，这群小家伙心灵手巧，用彩虹滴下的色彩调浆，各呈其能，绘制出一枚枚好看的彩蛋。兔子王国的小家伙们通过辛苦的努力，为世界各地的小朋友送上最好的复活节礼物。 　　本片荣获1934年威尼斯电影节最佳动画片奖。

Hollywood-style time travel tales like to focus their attention on cultural fads and fashions: clothes, music, slang, daily technologies. The ingeniously low-budget Irish sci-fi film LOLA has fun with all of that, but also investigates darker, more global questions like: what if Germany had won World War II? 　　Pieced together in dazzling 16mm as an imaginary collage of interlocking audio-visual documents from the 1940s, Andrew Legge, directing his debut feature, conjures the lives of two gifted and lively sisters, Thomasina and Martha. Left to their own devices as children, the pair has managed to create a machine that receives media broadcasts from the future. In their personal, cloistered, punk paradise, they embrace the rebellious styles of an age to come – The Kinks, David Bowie – but also discover, when military personnel move in, that history is a dangerous game to toy with. The ultimate question becomes: if mass media can change the world, can cinema miraculously restore it? 　　Just like the monument to bricolage created by its characters, LOLA is an inspired conceit in the style of Guy Maddin, Woody Allen’s Zelig (1983) and Peter Jackson’s Forgotten Silver (1996). It’s a surreal romp through scratches, glitches and speculative possibilities. 　　源自：https://iffr.com/en/iffr/2023/films/lola

Hollywood-style time travel tales like to focus their attention on cultural fads and fashions: clothes, music, slang, daily technologies. The ingeniously low-budget Irish sci-fi film LOLA has fun with all of that, but also investigates darker, more global questions like: what if Germany had won World War II? 　　Pieced together in dazzling 16mm as an imaginary collage of interlocking audio-visual documents from the 1940s, Andrew Legge, directing his debut feature, conjures the lives of two gifted and lively sisters, Thomasina and Martha. Left to their own devices as children, the pair has managed to create a machine that receives media broadcasts from the future. In their personal, cloistered, punk paradise, they embrace the rebellious styles of an age to come – The Kinks, David Bowie – but also discover, when military personnel move in, that history is a dangerous game to toy with. The ultimate question becomes: if mass media can change the world, can cinema miraculously restore it? 　　Just like the monument to bricolage created by its characters, LOLA is an inspired conceit in the style of Guy Maddin, Woody Allen’s Zelig (1983) and Peter Jackson’s Forgotten Silver (1996). It’s a surreal romp through scratches, glitches and speculative possibilities. 　　源自：https://iffr.com/en/iffr/2023/films/lola

芙萝拉是一头再也无法表演的大象，因此马戏团决定将其安乐死。就在执行安乐死的前一晚，马戏团团长的女儿偷偷将芙萝拉带离了马戏团。然而，想抵达安全的地方，他们必须先翻山越岭、跋山涉水，同时还得躲避大象猎人的追杀。最重要的是，他们必须相信彼此并克服对死亡的恐惧。