the power of disjuctive editing in Run, Lola Run

Most of Run, Lola Run followed normal continuity rules- it was easy for me to follow what order things were occurring and in what direction Lola was running (heading towards Manni, Lola mostly ran across the screen from right to left). For emphasis, however, the continuity in several scenes was broken by disjunctive editing. In this way, the cuts were quick and jerky. This kind of editing draws my attention because the cuts are obvious in comparison to previously smooth shots. In a scene picturing Manni riding the subway, jumping onto the platform to avoid police and forgetting the bag of money on the seat, there was suddenly a succession of choppy shots: Manni’s face, the bag inside the subway, Manni’s face and, again, the bag. This is an example of overlapping editing in which a shot of Manni’s face (same angle and expression) was shown multiple times, as well as the same view of the bag. This breaks continuity because it is as if time fails to move forward, but it is intentional. This editing style caught my attention and caused me to wonder why this moment was different from the rest. This moment was significant because Manni’s forgetfulness – and his sudden realization of this mistake – caused the rest of the day’s events to take place. It not only caught my attention, but the overlapping editing appeared to recreate Manni’s experience of that moment. Upon realizing that he left $100,000 on the subway leaving the station, wouldn’t time seem to stop and images of the bag flash into his mind? This was clever and it effectively stressed the importance that this instant would have on everything else to follow.