Robert Lapsley explains Stephen Heath s view of this effect. Lola s entire run is a series of cuts from every angle and several different points of view. Timing is crucial to every aspect of Tykwer s narrative. He shows incredible precision and skill in his manipulation of time. Clocks can be located throughout the film, and the time on these clocks always match perfectly with the amount of time that has passed during that portion of the film.
Objective time is consistent with the story, and reality.
The way that time feels, or subjective time, in Run Lola Run varies greatly. The twenty minutes would feel like an eternity for Manni who is waiting for a solution, not Lola, who is running out of time too quickly. Amidst the quickly flashing images and rush of energy, Tykwer sometimes utilizes slow motion to slow down the ride and emphasize the most important or pivotal actions in the film. Unlike some films where the emphasis is either on the message or the mechanisms, Tom Tykwer beautifully intertwines both so that the theme and the cinematic elements are inseparable. The use of motion is powerful, and Lola s power lies in her motion.