Love Tomorrow (12A)

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The ViewLondon Review

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Review byMatthew Turner08/11/2013

Two out of Five stars
Running time: 80 mins

Disappointing British dance-themed drama that stumbles due to flat performances, an unconvincing script and dull photography.

What's it all about?
Written and directed by Christopher Payne, Love Tomorrow stars Cindy Jourdain as Eva, a former dancer who's wandering around London in a daze when she locks eyes with Cuban ballet dancer Oriel (Arionel Vargas) on the underground. He chases after her and persuades her to have a drink with him, but she remains withdrawn, as if in a state of shock, and barely answers his questions, prompting him to name her Maya when she doesn't offer her name.

It transpires that Oriel is preparing for a big audition and, realising that Eva is also a dancer, he attempts to coax her out of her shell so that she can assist him; to do so he takes her backstage to watch a performance at Sadler's Wells, as well as letting her sit in on a dance class he teaches. As the pair continue to drift around London together, they have various encounters and the truth behind Eva's shell-shocked state is gradually revealed.

The Good
It's always something of a risk when casting a film about dancers – do you cast actual dancers and hope they can act (like Moira Shearer in The Red Shoes) or cast actors and hope they can dance enough to fake it in the medium/long shots? Writer-director Payne opts for the former with Love Tomorrow, casting real-life dancers Jourdain (formerly with the Royal Ballet) and Vargas (principal dancer with the National Ballet), but, frankly, there isn't enough dance content in the film to really justify his decision, although what there is is decent enough. On top of that, their performances and line-readings are disappointingly flat and lack the necessary spark to generate interest in their story.

The Bad
To be fair, a large portion of the blame rests with the script, which requires Jourdain to be mopey and silent for the majority of the film and doesn't allow her any lightness later on either, aside from a charming montage sequence where they practice the lift from Dirty Dancing in the park at dusk. Similarly, the script leaves several promising directions under-explored (such as Eva being pursued by her boyfriend (Max Brown) or Oriel's rivalry with a fellow dancer) and ultimately fails to convince on an emotional level – the late-arriving revelations about Eva are supposed to be devastating, but by the time they do hit, you'll have long since ceased to care.

In addition, Paul Teverini's photography is dull throughout, to the point where it occasionally feels, literally, like fifty actual shades of grey.

Worth seeing?
Love Tomorrow is something of a disappointment, thanks to dismal-looking photography, lacklustre direction and a dull script that fails to connect on an emotional level.

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Love Tomorrow (12A)
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Content updated: 25/09/2018 21:29

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