There is a kind of poetry to the way the two parents and their teenage daughter fold laundry together, just as there is palpable tension in their glances and gestures. Even the most mundane activities, such as house cleaning, seem loaded with meaning. A film about marriage and parenting, Mañana a esta hora is also a meditation on acceptance. In her documentary-like approach, like Mekas, Rodriguez elevates the unremarkable, so that, in the end, her film becomes a delicate memento mori.
What’s interesting about Tomorrow is how flawlessly it simulates the illusion of documentary: this is Zaldua’s first credit, but Shelton and Osma are both actors with a few high-profile credits, none of which you know or perceive off the bat. I was startled to find out, come film’s end, that I hadn’t been watching yet another hybrid; the illusion of watching a family that’s agreed to offer themselves for extended observation even at the most painful moments is flawlessly sustained throughout.
A discrete, almost artisanal, Colombian film about an adolescent girl at odds with her parents, This Time Tomorrow is less remarkable for its storyline than for the way in which writer-director Lina Rodriguez wields shot length like a freshly inked fountain pen. Here, cinematic rhythm is punctuated, ever so consistently, by the indiscriminate usage of long takes, and regardless of whether the actions are completely inconsequential or pivotal to the drama.
83 of 3 reviews