TOMORROW

By Iman Afsharian, Mahdi Pakdel

Along with her mother, a young girl embarks on a journey in order to take beautiful landscape photos. On the road, their car breaks down and they are obliged to wait for her father for assistance. Feeling helpless due to his condition of living and combating a serious illness, taking shelter in the nature, a doctor is acquainted with them as well as a woodman. Then all of them are confronted by two young men trying to find a way for illegal exit from the country.

Details
  • Genre
  • Country
    Iran
  • Year of Publication
    2014
  • Duration
    86 min
  • Aspect Ratio
    16:9
  • Film Type
    2k
  • Sound System
    stereo
Photos & Videos
Cast & Crew
  • Written & Directed by

    Iman Afsharian, Mahdi Pakdel
  • Producer

    Ehsan Delaviz
  • Executive Producer

    Behnoosh Tabatabayi
  • Production Manager

    Sasan Salour
  • Director of Photography

    Sina Kermanizadeh
  • Editor

    Moein Shafeie
  • Production Designers

    Iman Afsharian, Mahdi Pakdel
  • Costume Designer

    Soodeh Sharhi
  • Music

    Behzad Abdi
  • Sound-recordist

    Alireza Novin-Nezhad
  • Sound Mix

    Ehsan Afsharian
  • Make-up

    Soudabeh Khosravi
  • Visual Special Effects

    Amir Reza Motamedi
  • Cast

    Sadegh Safaie, Ali Dehkordi, Amir Reza Delavari, Majid Agha-Karimi, Soodeh Sharhi, Mohammad Reza Alimardani, Alireza Shojanoori, Setareh Eskandari.
Director's Biography

Iman Afsharian, Mahdi Pakdel

Born in Shiraz in 1974, Iman Afsharian is a graduate of Dramatic Literature (MA) from Azad University. After working as actor and director in theatre and TV, he co-directed his debut feature, TOMORROW, in 2014.
Born in Isfahan in 1980, Mahdi Pakdel is a graduate of Graphics (BA) from Azad University. Active as an actor in Theatre and Movies, he is best known for his performances in BLUE; THE FISH FALL IN LOVE; and RASPBERRY. He co-directed his debut feature, TOMORROW, in 2014.
Feature Films: 2014- TOMORROW.

Director's View

We tried to make a modern and contemporary film, looking through some of Rumi’s tales, in the field of poetical cinema. As a matter of fact, we tried to point to a concrete relation to death, not as devastation and destruction, but as a rebirth for the man in the age of technology from the oriental point of view. It tracks the magical realism in rarely-observed landscapes in remembrance of a film tradition with nearly-forgotten elements.

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