Lola, whose protagonist careens from one traumatic experience to the next, doesn’t explore hardship – it exploits it
If a nepo baby makes a laughably oblique film portraying what she must imagine to be the strife of the impoverished class, but hardly anyone watches it, will it hurt her career?
That’s sort of a trick question. Nicola Peltz Beckham, daughter of the Disney agitator investor and billionaire Nelson Peltz, and daughter-in-law of the power couple David and Victoria Beckham, dwells in a tax stratum so high that her career’s successes and failures are almost irrelevant. Most learned her name when her father filed a lawsuit against two of her former wedding planners over a $159,000 deposit – a relatively small amount in comparison with the reported $3.8m bill for her nuptials to Brooklyn Beckham. She has acted in a handful of television shows and movies since she was 11, but Lola, which premiered on 9 February with a limited theatrical and digital release, marks her writing and directorial debut, and her first leading role. Peltz Beckham described the project, which she’s been working on for six years, as a “slice-of-life film”.
