Tomorrrow Everything Will Be Alright

Akram Zaatari

2010, 12:00 minutes, colour, English


Tomorrow Everything Will Be Alright was made as a response to a call by ICO and Lux in London to film-artists to make short works that would screen prior to feature films in commercial movie theaters across the UK.

Prior to that, none of my films had screened in commercial movie theaters. It was an occasion to make a work for cinema, about cinema. What else than a love story? There is something romantic about Love stories and “big screen”, and no matter how stereotypical this can be, love stories remain so dominant in film, history and present. Tomorrow Everything Will Be Alright is about a chat between two former lovers: two men, who were separated ten years before, and who confess to each other their desire to meet again. I have to admit that I shot the film twice, once with super 8 black and white stock, but I didn’t like the look. So I shot it again with RED. In the first super 8 version I shot a scene at sunset with 2 young men, one of them having his hand bleeding. It was supposed to be the final scene. Although I love it, and the way it came out on film, I decided not to repeat it when I shot again with RED. Slowly the film was settling as one without the physicality of actors, and the two characters on the chat became like ghosts that could take the faces of anyone the audiences like to recall. It is inevitable in Love story classics that audiences get attached to actors. It is nice when -after you watch a film- you go back home with a face in mind, a body and an unsatisfied desire to be with that person again. It is this desire that I wanted to try and reproduce without using human subjects.

The typewriter I used featured in many of my photographic works. It is the typewriter that my father gave me when I turned 16. Using it today, is using a device that belongs to the early eighties, and a logic that belongs to the internet age. It produces something extra real, like the ghostly presence of the absent actors. A log of what they say scrolls up as their conversation goes on. It’s the logic of online chat, but it is also how you traditionally write a script, so transforming a situation into a log/dialog list can be seen as stripping cinema from its actors, from mise en scene, but it is also bringing back cinema to its origin, the written script.

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