Tomorrow Everything Will Be Alright

Akram Zaatari

2010 | 00:12:00 | Lebanon | English | Stereo | 16:9 | HD video

Collection: Single Titles

Tags: Technology, Time

An intense conversation between two people one evening leads to a pictorial love story about loss and longing. An homage to Eric Rohmer and the attention he paid to the tiny details of everyday life. An eternal story of love and separation.

"Tomorrow Everything will be Alright was made as a response to a call by ICO and LUX in London to film artists to make short works that would screen prior to feature films in commercial movie theaters across the U.K. Prior to that, none of my films had screened in commercial movie theaters. It was an occasion to make a work for cinema, about cinema. What else than a love story!"

– Akram Zaatari, Interview with Berlin Film Festival, 2010 



1:2 letterboxed in 16:9

Script: Akram Zaatari

Cinematographer: Muriel Aboulrouss

Editor: Serge Dagher

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Prizes + Awards

Videobrasil Grand Prize 2011


Tate Modern

Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001


Athens Int'l Film/Video Festival (OH), 2001



Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung