“One’s first love is so intense,” the characters in Jacques Demy’s Lola declare again and again. The same might be said of first films — certainly of Lola itself, Demy’s 1961 debut feature. If the fledgling director had had his way, it might have looked a great deal like some of his later works, including The Umbrellas of Cherbourg (1964) and The Young Girls of Rochefort (1967), as he explained in an interview included in Agnès Varda’s 1995 documentary The World of Jacques Demy: “It would have cost 250 million francs, in color and Scope, with lots of dancing and singing and costumes. So [producer Georges] de Beauregard told me, ‘Look, it’s a sweet project, but [Jean-Luc Godard’s] Breathless cost 32 million. If you can do yours for 35, it’s a deal.'” Demy accepted. The resulting film — black and white, with only a single short song — may not resemble his subsequent musicals on a superficial level, but many of their major elements are already present: characters crossing paths, improbable coincidences and, above all, a pervasive air of romance. Perhaps Lola‘s smaller scale, with its relative modesty and lack of frills, actually gives these qualities an added strength and purity.