User reviews

Nice first-time effort by Francois Dompierre . Kudos to him, actor Joey Kern , and Lindsey Davis , Art Director for staying after it's East Coast screening at the Stony Brook Film festival for the Q & A .

The frustrating , platonic "love story" was a little slow in developing , but tended to become more fleshed out as the movie wore on and the character's traits and aspects were revealed to us in the audience . The use of the dream sequences with Richard Roundtree , were somewhat vague , but did tend to lead into the next chapter or vignette .

The desert landscapes spoke volumes of the "relationship" between the two main characters Wes (Joey Kern) and Alison (Alexandra Holden) . Warm and enticing , yet empty and foreboding . This non-committal "dance" between the two directly echos many , many relationships in our modern , fast-paced materialistic world . (Many that i have personally encountered ,and with some of my friends) . Bravo to Francois to presenting this movie in such a way, yet leaving the "possibilties" open for something more substantial in the future .

The acting was top - notch , as they lead us on their journey's of evolving , maturing , and feeling out what "fits' in the present , and what might be a "best" fit .... for each one in the future . ( I can certainly see continued success for both Joey & Alexandra ) .

For the average film - goer , this film may be a bit tedious and frustrating ( as was evidenced in the crowd around me ) . I would recommend this more for an artsy , thinking , engaged viewing crowd , who recall having youth and time on their side , floating through modern life ...... before tomorrow ..... Life ... and the overhead theater's lights ... kick in !

I saw this film international opening in the 2006 Rio's Film Festival. And for me it was one of the three best I saw. François Dompierre first film is almost perfect, a story about love and memory. Great pacing, beautiful images and excellent music, which, although completely different in subject, made me remember in some ways in Sofia Copolla's Lost in Translation.

All happens in one night, when Wes, a guy who knows what to remember, but has no action, receives a call from Alison, the girl he remembers, a friend and nothing more. She is in town, is leaving tomorrow and wants to see him. They have this one night to remember their past, all the days before tomorrow, all the days before she leaves again. Two summers ago, they meet, one summer ago, they traveled through the desert. They were happy together, but there was always a feel in the air for something more than just friendship. In his travel through his memory, Wes will be guided by the Doctor, an old man in a monochromatic landscape, who revels to him what he always knew, all the questions he never had the courage to make while awake. He needs time to understand there is no time. He needs time to understand that to finally fly, he needs to take action, to build eternity with Alison.

I was constantly hypnotized by the outstanding cinematography, as well. Every scene was shot to bring out the most beauty possible, and it enhanced the experience by 100 times. One of the first few scenes drew me into the movie as it showed a girl's hand resting outside a car window, with rays from the setting sun gleaming through her fingers as she drove through an orange desert terrain. Each shot that was captured was entrancing: from majestic canyons in Utah to quaint homes in Montréal, a stylish apartment in L.A. to slow motion lights in a club and snow falling onto the still water of a swimming pool. It did not matter what was happening—every frame was perfectly composed and a delight for the eyes.

As if there could be any more wonderful aspects to this film, the music was yet another one! The varied musical selections added as much to the movie as anything else, and it would not be the same without it. The most amazing thing about the film's music was that the songs were of completely different genres yet each created the ideal mood and sensation that a scene was meant to have. There was music for every taste: jazz, electronica, alternative, instrumental, country and even songs in four foreign languages! The music was very distinctive—not the over-played radio songs you find in most movies—and captured the essence of the diverse twists and turns of the story. I had not heard any of the songs before this movie, but they left a lasting impression in my mind and made me impatient to have them on CD. The music choices of the director were impeccable and set the finishing touch to the acting, script, and cinematography, bringing each scene fully to life.

Many of my favorite movies are love stories, but this is now my favorite one of all. I was amazed that the film made me want its two characters to be together so badly. In many movies, I would not care if the lovers end up together, but this one made my heart hurt to think that they might not be happy. I was surprised to find myself so enthralled, hanging on every word and movement of the characters, feeling as though I was experiencing what they were. When a movie pulls the audience into the story, making them care about the lives and fate of its characters, it has accomplished its goal. This film did just that, subtly and naturally, without a hint of insincerity or cliché. The film never tried too hard because it didn't have to—it compelled you to become enveloped in the story without ever realizing you were. I was amazed as I admired each emotional and intellectual layer, woven delicately and masterfully into every element of the film, and saw how it had been refined to perfection until it flowed seamlessly. This movie made an ordinary week of mine into an incredibly exciting experience, and gave me something to turn to when I need to be reminded that there are truly masterful works of art in the world. Since March 2nd, this has been my new favorite movie. "All the Days Before Tomorrow" plays like a finely-tuned instrument and unfolds like the steps of a flawlessly-choreographed dance. There is not a scene, expression, sound or word that should be changed.

It takes a great vision and incredible talent to create art so powerful, and I must give the director, François Dompierre, unending praise for having done that. This was his very first movie, and merely from knowing that I can see that he is destined for success. Anyone who experiences this film will be able to recognize his remarkable skills and ability that stand out beyond the rest, and I know we will see him at the Oscars one day. Thank you for making such an exceptional work that touched my heart and I know many, many others.

Everyone who can, see this film and give it the support it deserves!! =)

Great story , music and pictures . Fun to watch , fine humor , telling something about life we all experience . Francois Dompierre did very well for his first movie . Will be fun to watch him over the next few years . He has something to say - what a change from all those boring ,stupid and violent movies on the market today - . Long life to that new writer-director !

The choice of music fits very well with the beauty of the images . That Gavin Kelly is very good also ...there are some great visual moments in that movie -Alison hand floating around outside the car (for example )- or the ways the beauty of the chosen location is presented .

Alexandra Holden is great and take the whole screen for herself sometime -full of life-. I have enjoyed that refreshing movie very much . I only wish we could see more movies like that ,unfortunatly they are exceptions ....maybe that is why we like them so much when we find them...

Francois Dompierre made a remarkable first film. The texts are excellent, the photography, especially what was shot in the canyons, is beautiful, and the scenes with Richard Roundtree show the wacky sense of humor the director has.

The musical choices made by Dompierre are appropriate. The language of the songs always fit the mood of the scene they are used in.

It is obvious that with a bigger budget, Dompierre could make some real good work. This film only shows how he has been able to do much with so little.

To summarize: an excellent start for a talented director.

It's beautiful to look at and the dialogue is good. But the subtle performance of Alexandra Holden makes the movie! What an amazing performance, I was blown away. I've known girls in my life just like this character, it may not be a role full of drama, crying/screaming/dying--but she is as real as it gets!! the movie is pretty good, it could move a little faster.

why don't more movies like this come out? Even on video there are always so many crappy low budget horror films on the shelf, why can't there be more like this,, All the Days Before tomorrow? And not to mention actresses like Alexandra. She should get more work. I hope something comes of this movie so people can see how good she is. She will have a lot of fans if this movie gets out there!!!!

During the Cinequest film festival in San Jose in March, the film I had intended to see had been cancelled and I was given a ticket to see "All the Days Before Tomorrow" instead. I am so glad for that cancellation because this film turned out to be better than I could have ever expected! I loved each moment as much as every other and I hoped it would never end. I returned to see it two more times during the festival and loved it more each time. The plot was engaging, innovative and flowed beautifully and confidently. Each scene followed the last with perfect timing and I was able to follow along even though the film was centered around one current time period and two flashback periods. That is how well the movie was done. Throughout three time sequences as well as intermittent dream scenes, I never once became lost.

One of my favorite aspects of the film was the dream scenes of a main character. I loved the way that each one made me feel that I was experiencing my own dream, flowing exactly as a person's subconscious thoughts do. They were hysterical and yet inspiring and philosophical at the same time, and in only a few minutes. The choice of Richard Roundtree for the "dream gatekeeper" was a perfect choice and brought the character to life. The inventive names for each sequence (as well as the idea to give them names) were humorous and very original. The scenes gave a nice interlude between the intense and realistic "real life" happenings, and the black and white film used gave a wonderful contrast to the main color scenes, making it seem as though they were really "coming to life" from the dream state. The unique sequences were subtly poetic and gave so much to the film. They made me laugh and added a beautiful shot of quirkiness and surrealism to a very human story without ever going over the top.

The way the movie's scenes were edited was masterful. For example, in one scene, a character is asked how she likes living in Tokyo, then it cuts to a scene of her sitting in a dim, uninviting room looking at things on a kitchen table, seeming very lonely and bored, then quickly returns to the conversation in which she replied something to say that she was lonely there. I felt like I was jumping into the characters' minds throughout the whole film, making everything seem real. Instead of giving the audience the entire background on the characters up front, the movie allowed you to discover their history slowly and in a way that made you always eager to know more. It was also amazing that the movie used so few characters yet had so much depth and richness to it. The script and plot were so high-quality that there was no need for extra characters to take up space and clutter the story. It was completely substantial with its core characters and events.

The script was one of the most incredible parts of the film. Every word had significance and was completely original—this was the opposite of most predictable, recycled B movies! The parts of the movie that were meant to be touching and emotional unfolded with words that carried every meaning that was intended and made me feel exactly what the character felt. Amazingly, the film could go from a profoundly meaningful scene to making me laugh the next second. The funny parts of the script were incredible, too. No stupid or boring jokes, but very original and subtle comedy that couldn't help but make you laugh and could appeal to any sense of humor. The script was one of the best parts of the film, and it is incredible that the film's director not only directed but wrote the outstanding screenplay as well.

The acting was great, too! The actors were perfect for their parts and acted them with great precision. They portrayed the characters wonderfully and brought out the unique facets of their personalities that made them so incredibly irresistible as characters. During the movie, I wished they were friends of mine, and after it, I felt like they were! The actors did a fabulous job and I have to give them credit for that. The main characters, Wes and Alison, also had fantastic chemistry; I felt every single emotion and thought between them. That takes talented actors and an amazing screenplay, both which were very present in the film.

One of my favourite films. Such a refreshing change from the romance that Hollywood deals out. Alison and Wes feel like real people, in a very real relationship that you get to see develop in a way you don't usually see in film, the inside jokes between two people, the effect they have on each other over time. It watches more like you might read a book, which I rather like. The jumps in time sequences can be confusing at first, but only if you aren't paying attention. I appreciated it more on repeated watchings, how the (somewhat crazy, but creative) dream sequences fit into the whole feel and direction of the story. How the different time lines actually fit into themes that tie the three different years together. Just enjoy it every time, its like revisiting good friends.

I think this is a really great film! It was beautifully shot, the actors were very good, and the story touched me by it's poetry and humanity. It's hard to do a film about a love story and still have something new and original to show and I think François Dompierre did it with great talent! The black and white transition with Richard Roundtree in the desert were very inspiring and funny! The rhythm of the film was perfect for me, with nice moments of silence and music, by the way, great soundtrack also! This is remarkable work for a first film! I'm very impressed! I think François Dompierre has a great talent and I really hope that we will see his next film soon!

I got to see the film on DVD as it was never released on screens in Kuala Lumpur where I live or at least I did not hear about it. It was absolutely one of the best films one could ever wish for if they were into films with a straight story whose taste will be with you like forever.

Throughout the film and almost in every scene I had this weird feeling that I have been to those places before or at least once have had a dream like that, especially in the club scene with the mind-boggling music in the air. It really blew me away.

The acting was just awesome as the two were showing their true characters and had nothing to hide from one another. Alison, a naughty girl with all that energy, had come cross the young Wes who seemed to have nothing in common with her at first but as the story went on, they were so incredibly bound together that you could clearly see the effect of this simple but strong connection between them in their life...

Wes was talking about the transfer of energy in some scene in the film while Alison had no clue what it was like but the film showed this movement of energy so well between the characters. I had never seen a movie like this making me wish for such moments as every scene was telling the story of a dream...

I believe movies like "All the days before tomorrow" are created once in a lifetime and I strongly believe we need more of this type to show the great power of true joy and happiness and I think happiness was well- defined in every second of this movie...