Tomorrow We Move

Lynch/Fellini

Chantal Akerman spent her career finding horror within the mundane aspects of life. Here she finds absurdity, making for one hilarious comedy!

gipuc

The script is brilliant. Exacty when we think Akerman make just a light comedy, she present us a dictionary of all the rages of human species.

msmichel

Sylvie Testud and Aurore Clement are both quite charming throughout Akerman's comedic attempt but the film falls flat. The whimsy and comedy come off as forced at best and often quite puerile. Well crafted technically but the scripting sinks this one.

Jason

Playing and having fun make you feel good, and I love Chantal so much I regularly fear I may explode. Or just these: these warm happy tears. She really was the very best. Obviously you need to have a sufficiently nuanced appreciation of worthwhile pleasures. Here's hoping. This one really plays on that Renoir thing: the coextension of private and public space. So great to revisit this. Thank you, MUBI!

nrh

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....

Wee Hunk

He sat in his chair watching the film, waiting for desire to arrive. His expectations were lowered having read the article by Martin and Lopez about this film. But then a bunch of people showed up at the apartment and it grounded to a halt, and so he got up and left.

Tja

Unconvinced that there's sufficient material here to sustain interest over 110 minutes. Despite Mubi's by-line, this is a tale of the perils of moving home as much as cohabitation between pianistic mother and author daughter. Charlotte, fit a staircase handrail and switch to de-caff!

arcondicionado

a magically oddball study of communication. charmingly theatrical, funny, depressing in a way. Akerman never fails to amaze me when it comes to capturing the offbeat relation between bodies, objects and space. always so special.