Жүгір, Лола, жүгір: Тағдыр мен ерік-таңдау арасындағы ойлар

1998 film by Tom Tykwer

The thematic exploration of free will vs. determinism is made clear from the start. In the film's brief prologue, an unseen narrator asks a series of rhetorical questions that prime the audience to view the film through a metaphysical lens touching on traditional philosophical questions involving determinism vs. philosophic libertarianism as well as epistemology. The theme is reinforced through the repeated appearance of a blind woman who briefly interacts with Manni in each alternative reality, and seems to have supernatural understandings of both the present and potential futures in those realities. The film ultimately seems to favor a compatibilist philosophical view to the free will question as evidenced by the casino scene and by the final telephone booth scene in which the blind woman redirects Manni's attention to a passerby, which enables him to make an important choice near the film's climax. Several moments in the film allude to a supernatural awareness of the characters. For example, in the first reality, Manni shows a nervous Lola how to use a gun by removing the safety, while in the second timeline she removes the safety as though she remembers what to do. This suggests that she might have the memory of the events depicted in the previous timeline. Also, the bank's guard says to Lola "you finally came" in the third timeline, as if he remembered Lola's appearances in the previous two. The theme of desire is expressed through the film as a driving force for Lola's actions. In Ingebord Majer O'Sickey's essay "Whatever Lola Wants, Lola Gets (Or Does She? ): Time and Desire in Tom Tykwer's Run Lola Run" she argues that "what Lola really wants is to get into time sync with Manni in sexual terms". The conflict in the plot is driven by the initial phone conversation following Lola being late, leading to their timing to be out of sync. After the end of the first "episode", the bedside questioning by Lola reveals her dissatisfaction with the relationship, leading Manni to ask "Do you want to leave me?". O'Sickey makes the argument that each repeated return to the day is driven by Lola's continual attempt to adjust Manni's timing. The entirety of the film portrays Lola as "postmodern heroine who could leap over traditional time constraints" giving the expectation that she ultimately would get what she wants. By the third arrival in the film, O'Sickey argues that "Lola not only loses her super heroine status, but her desire to desire". She claims the ending portrays "the tradition of classical Hollywood cinema's economy of desire". With Manni having reacquired the money, Lola's desire to be "in sync" disappears as she watches Manni's "metamorphosis from a bungling and fairly ineffective lover to a man in control of the situation". O'Sickey makes the claim that this deflates Lola's heroine status in the final act.

The film has drawn numerous comparisons to Polish director Krzysztof Kieślowski's Blind Chance (1982), which also features three scenarios, the outcome of which depends on split second timing. The bed sheets in the red scenes also feature spiral designs which add to the allusion. The Lola character is often compared to the Lara Croft character of the 1996 video game Tomb Raider. Coincidentally, the film Sliding Doors (also released in 1998) follows two timelines which diverge based on a seemingly minor decision: one in which the protagonist hesitates for a fellow pedestrian, and the delay causes her to miss a subway train; and another where she sidesteps the pedestrian and catches the train.

The soundtrack, by Tykwer, Johnny Klimek, and Reinhold Heil, includes numerous musical quotations of the sustained string chords of The Unanswered Question, an early 20th century chamber ensemble work by American composer Charles Ives. In the original work, the chords are meant to represent "the Silences of the Druids—who Know, See and Hear Nothing". The techno soundtrack established dialectical relation between motives of the movie: Rhythm, Repetition, and Interval among various spatio temporal logics. This produces unification of contradictions like Time and Space or The cyclical and the linear.

Run Lola Run was filmed in and around Berlin, Germany.

as of 2021, the review aggregator Rotten Tomatoes reports that 93% of critics gave the film positive reviews based on 83 reviews, with an average rating of 7.70/10. The site's critical consensus reads, "More fun than a barrel of Jean Paul Sartre, pic's energy riffs on an engaging love story and really human performances while offering a series of what ifs and a blood stirring soundtrack." On Metacritic, the film has an average score of 77 out of 100, based on 29 reviews, stating the film as having "generally favourable reviews". In contrasting reviews, Film Threats Chris Gore said of the film, "[It] delivers everything great foreign films should—action, sex, compelling characters, clever filmmaking, it's unpretentious (a requirement for me) and it has a story you can follow without having to read those annoying subtitles. I can't rave about this film enough—this is passionate filmmaking at its best. One of the best foreign films, heck, one of the best films I have seen", while Jonathan Rosenbaum of The Chicago Reader stated, "About as entertaining as a no brainer can be—a lot more fun, for my money, than a cornball theme park ride like Speed, and every bit as fast moving. But don't expect much of an aftertaste."

The film was the highest grossing German film released in 1998 with a gross of $13.8 million. It grossed $7.3 million in the United States and Canada and $22.9 million worldwide. and a European Film Award in 1998. Run Lola Run was selected as the German entry for the Best Foreign Language Film at the 71st Academy Awards, but not ultimately nominated.

The film was released on DVD on 21 December 1999 and on Blu ray on 19 February 2008.

The music video for "It's My Life" by Bon Jovi, released in 2000, was inspired by the film. The music video for "Ocean Avenue" by Yellowcard is also seen by some to have been inspired by the film, as is the opening scene of Buffy The Vampire Slayer episode "Beneath You", where a pink haired girl is seen running through a German street to techno music reminiscent of the movie. The music video for "Happy Homemaker" by Canadian singer Melanie Doane is also an homage to the film. The film was the initial inspiration for the three day cycle in The Legend of Zelda: Majora's Mask, a video game also released in 2000. The movie has been referenced in various animated series, including the 2001 The Simpsons episode "Trilogy of Error", the 2011 Phineas and Ferb episode "Run, Candace, Run", and a 2021 Pinky and the Brain segment of Animaniacs called "Run Pinky Run". The series SMILF includes a 2017 episode ("Run, Bridgette, Run or Forty Eight Burnt Cupcakes & Graveyard Rum") which references the film. The music video for "Walk Me to the Bridge" (2014) by Manic Street Preachers directly references the movie.

A Hindi remake titled Looop Lapeta was released on Netflix on 4 February 2022.