What Tomorrow Brings

What Tomorrow Brings is a feature-length drama that will divide opinion. But this critic will argue that within its 97-minute runtime, Matt Engelbert’s family-made tale of two sisters gives the audience enough to think about – not to mention characters to genuinely care for – and so more than justifies its existence. What will risk alienating audiences, however, is the disconcerting hybrid of tones – in addition to issues with its technical construction. Even still, this is a film with some beautiful moments and gorgeous scenes.

The picture tells a story which, on its surface, is simple and sweet – but behind its bubbly veneer, it could not be more probing and emotionally complex. We follow a teenage girl, Clara, whose father has recently passed, and whose mother has never been the same since. Her mother leaves because, according to her, she has found a place that will make her better. Clara is then left to take care of her younger sister who is around ten years old. Clara, by adopting a kind of maternal responsibility, faces both hardships and great joys in spending time with her sister, whom she is attempting to keep safe from the dark truths of their home life.

Two thirds of the way through the film, a humongous plot-twist takes place, leaving the audience in shock. The twist is of an incredibly disturbing, almost sickening, nature; and in the moment, the viewer is fully transfixed on the character of Clara and this chilling reveal. But then, the third act takes place. The feeling implemented in the final twenty minutes could not be happier, more feel-good; almost fantastically optimistic. Audiences may very well flinch at this jarring change of tone and approach the filmmakers are taking – and in terms of overall tone, you could argue that it’s a twist upon a twist.

The visual construction of the piece is quite intriguing, with the most common variety of shot being this digital-looking, wide-angle, steadycam type setup wherein the camera moves between each character talking as opposed to cutting. A significant technical issue, however, is the flat lighting for interior sequences. But then again, almost every exterior shot looks quite wonderful: there are shots in the snow shot with high shutter-speeds, accompanied by a vibrant blueish hue. These shots are most successful. For a viewer who is only used to the biggest budgeted Hollywood productions, the audio here may pose a problem; it’s quite tinny, and one can tell that the dialogue was recorded via the in-built camera microphone itself.

Without a doubt, the strongest aspect of the film is the screenplay, the dialogue and the deep themes in discussion. It is more the manner in which these contrasting ideas are conveyed which may risk alienating some viewers. But plaudits should most certainly go to the script and the juxtaposing light and darkness it successfully deals with. Clara and her little sister especially feel as if well-rounded characters. And Clara especially has such a grounded personality, and the sincerity yet darkness of her motivations makes this feature a fascinating work.