Photography has long been a favourite subject of filmmakers. From Hitchcock’s iconic Rear Window [USA, 1954] to the modern classic City of God [Fernando Meirelles & Kátia Lund, 2002, USA] cameras have featured heavily in cinematic history. Tomorrow is a worthy addition to this tradition. Following two photographers on a trip through rural Ireland, Guvernor Sanchez’s (the directorial duo of Eoin McGovern and Mark McAuley) film provides a delicate look at the complex relationships in the lives of Simon and Scott.
Although focusing on two incredibly complex characters could risk overpopulating a short film, Tomorrow pulls it off. Some could argue that it risks skimming important subjects such as polyamory, paternity and non-binary sexuality. However, this lightness of touch does not over simplify these issues but, paradoxically, gestures to their immense complexity. This is because the film does not portend to give a deep portrayal of either Scott or Simon. Instead, it lets the incompleteness and the roughness of the ragged unfinished plots take centre stage. This sense of anti-omniscience is a real strength because it avoids the temptation to plonk situations and relationships into neatly wrapped but shallow boxes. Additionally, the refusal to end on a tidy coupled note makes this film a welcome re