Narrative can be defined as ‘a chain of events linked by cause and effect occurring in time and space’. (Bordwell & Thompson, 2010)

The 1998 German thriller film ‘Run Lola Run’ (Lola Rennt) directed by Tom Tykwer, does not follow the classical Hollywood film style conventions as its non-linear form manipulates both time and classic narrative structure.

The opening of the film represents no potential equilibrium like classical Hollywood style film presents, but rather thrusts audiences straight into the turbulence of the principle enigma, being that Lola needs to get 100,000 dollars to save her boyfriend Manni.

Tykwer offers three alternative narratives in his film based on a chain of cause and effects. Each narrative begins with the animated sequence of Lola running down the stairs, each slightly different, based on series of cause and effect chains. Time is manipulated greatly in this film as there are flashbacks, flash forwards and a 20 minute timer on each of Lola’s runs, creating intensity and suspense to audiences as the film follows close to real time in her running sequences.

‘Run Lola Run’ presents a character that has her arbitrary decisions puts her life in constant turmoil. Tykwer’s film ultimately presents the idea of determinism versus fatalism, as Lola refuses to let destiny take control of her life’s outcome.