Today, Tomorrow and the Day After's primary photo
  • Today, Tomorrow and the Day After (2008)
  • Short | 10 min | Short
Primary photo for Today, Tomorrow and the Day After
Today, Tomorrow and the Day After (2008)
Short | 10 min | Short
The story is set in the post 9/11 offices of the USCIS (United States Citizenship and Immigration Services). The narrative is split into two parts and point of views; that of the immigration clerks and that of the immigrants. It is a ...See moreThe story is set in the post 9/11 offices of the USCIS (United States Citizenship and Immigration Services). The narrative is split into two parts and point of views; that of the immigration clerks and that of the immigrants. It is a Monday morning. Sarah, Marge and Ashley, the three immigration clerks, prepare themselves for another morning, another week. They have worked with each other for several years and have grown to hate each other. Day after day they wait for the line in front of them to get smaller, but it only gets bigger. The spectator follows their conversation in one continuous shot, going from one officer to the next, with a slow camera movement. The immigrants on the other side of the Plexiglas appear distant, foreign and disruptive, sometimes even arrogant when interrupting the personal conversation among the officers. Finally the camera reaches the last officer, Marge, who serves the first immigrant of the day, Abdul-Mateen, a young Sudanese man. He cautiously walks to the counter and presents his papers to file for refugee status. Marge sees a minor mistake, and recommends that he should come back another day. Abdul-Mateen has heard this before. He becomes furious and hits the counter in front of him with his hand. The second half of the narrative deals with the immigrants. The camera is now hand held, more immediate and the lighting is more comforting. They enter, take a seat and wait. The room fills and little groups form. There are three Indian men, two Russian men, an old Chinese couple, three Nigerian men, a Nigerian woman with her young daughter and a young European girl talking on her phone. Abdul-Mateen and Hasim, his friend, are amongst them. At first the immigrants speak in their own languages or sit silently waiting. Slowly their speech is translated in subtitles and the spectator is invited to identify with them. Although they all come from different parts of the world and different cultures, they share similar concerns. They look at the immigration officers with fear and worry. Finally Abdul-Mateen is called up to the window by Marge. The same dialogue occurs, with Marge denying him refugee status. This time the spectator can see Marge's face, which was not visible in the earlier part, and we realize that she does not even look at Abdul-Mateen, seemingly ignoring him completely. This he has experienced many times before. In front of her Abdul-Mateen is not a person, but a case file, a number. His frustration in the totally impersonal treatment comes out. He hits the counter. The image ends here. Only sound remains and we hear Abdul-Mateen being taken down by a security guard. Hasim joins the fight. There is an obvious struggle. Finally we hear Ashley's voice, as indifferent as always calling for the next immigrant to approach the counter and the routine is about to start again. Written by John Youness See less
Read more: Plot summary
Director
Magdalena Steffenhagen (as Magdalena Berger)
Cinematographer
Kaan Çuhaci (as Kaan Cuhaci)
Editor
Florian Fessl
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Release date
Jan 1, 2008 (United States)

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2 cast members
Name Known for
Raul Torres's primary photo
Raul Torres
Pedro (as Raul I Torres) Pedro (as Raul I Torres)   See fewer
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Sam Kalidi's primary photo
Sam Kalidi
Abdul-Mateen Abdul-Mateen   See fewer
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