From celebrated director Chantal Akerman comes a new comedy crammed with erotic literature, half-completed piano scales, and above all, boxes. When Charlotte (Sylvie Testud) takes her widowed mother (Aurore Clément) into her apartment, the ensuing clutter drives her to distraction. Her solution is to relocate, but the flood of apartment buyers who descend only makes the place more crowded. As Charlotte pursues her desperate, slapstick quest for peace, Tomorrow We Move develops into a sly tale of rootlessness, familial burdens, unavoidable but unachievable writing assignments, and the occasional black cloud.
Dubbed by the Village Voice as “arguably the most important European director of her generation,” Belgian filmmaker Chantal Akerman is known for making innovative films that have often earned comparison to those of Jean-Luc Godard or Rainer Werner Fassbinder. Although she rejects the label of “feminist filmmaker,” Akerman has become a guiding light in making films about the real issues faced by women, employing an experimental, deeply personal approach to her subjects.
A disciple of Godard (who first inspired the then-15-year-old Akerman with his Pierre le fou), Akerman attended Brussels’ INSAS film school and the Universite Internationale du Paris. She demonstrated her devotion to Godard with her first amateur short subject, 1968’s Saute Ma Ville (Blow up My Town), which three years after its completion was entered in the Oberhausen Festival. Working on the fringes of show business in New York in the early ’70s, Akerman became an enthusiastic participant in the avant garde film… read more
Seems like Akerman's attempt at post-MELO Resnais, and one of her least effective films of the '90s, especially after the devastating "CAPTIVE," and a far drop from the charming, incisive comedy of NIGHT AND DAY. Still worth watching for her fans, but no comfort for those of us who hold TOUT UN NUIT dear and hope for a second coming, however modest....