During the Blitz the women begin listening to news bulletins from the future and broadcasting clandestine radio messages to warn civilians to take cover from impending German air raids, saving many lives.
Mars becomes upset when she tries to tune in to a TV appearance by David Bowie from 1973, only to find that he has been replaced by a musician named Reginald Watson whose music has distinctly fascist themes.
Neil Hannon of The Divine Comedy wrote the soundtrack which also features "Space Oddity" by David Bowie, a rearranged version of "You Really Got Me" by the Kinks and music by Elgar.
The site's consensus states: "LOLA stylishly fuses time-travel and found footage elements to craft a clever what-if story that buzzes with timeless ingenuity.
"[10] David Ehrlich of IndieWire gave the film a rating of "B", writing that "The genius of Legge's design, and why his debut works as more than just a cute little curio despite its thinness, is that it mines a sneaky emotionality from the bedrock of the film-within-a-film structure.
Legge doesn't rely on the changing of the future to shock an audience which has heard that tale many times before, but weaves a more complex story, very neatly tied together and, in its totality, addressing one of science fiction's trickier big questions."
She also praised the soundtrack, "Rounding out all this, and coming into full bloom as we begin to see more of the reshaped future, is some brilliantly rewritten music, exploring how key songs and movements might have turned out in a different cultural context.
"[11] Kim Newman also praised the soundtrack "whose sinister dystopian glam rock is horribly convincing" and concluded "this is an ingenious, exhilarating film: it demands rewatches, revels in time-twisting inventiveness and has a lot to say about the actual present day as it contemplates how good intentions might muck up the past".
"[14] Kaleem Aftab of Time Out rated the film two stars out of five, writing that "There's much to admire here, but with Legge's keen eye for the technical side of cinema stronger than his narrative impulses, LOLA ultimately has to go down as an ambitious failure.
Similarly, the script uses both real and imagined events of WWII to pose some intriguing questions about sacrifice and whether the ends justify the means, giving the film a strong present-day resonance in the process.
Offbeat as it may be, the stakes are real, and Lola conjures a number of classic time travel dilemmas and paradoxes, ultimately tying into the found footage form itself.