A piano hangs precariously in the air. A mixed crowd watches the piano from below. Will the piano be safely brought down? This is the first scene of the film, the cause for all that comes to happen and the plot of the film itself. Charlotte is a freelance writer that eavesdrops on other people’s experiences and turns them into romance novels. The home that guarded her and her peaceful life from the world outside turns into a cramped and chaotic space when her mother, her mother’s piano and her pupils move in. To keep living in peace mother and daughter need a bigger house: they decide to move. However, moving is easier said than done, and the situation turns topsy-turvy. Full of delightful humor, Tomorrow We Move is worth noting as the next work of director Chantal Akerman, following the documentary From the other side, an excellent portrayal of the people and the image of the villages on and around the US-Mexico border. In the 1990s Chantal Akerman has added the problem of racism (as in South(1999)) to her critique of a sexist society, persistently presented in Jeanne Dielman(1975). The inquiry into space penetrates her seemingly manifold interests, and this inquiry is growing deeper. Tomorrow We Move touches this context. The film is a humorous expression of her reflection on the space of the apartment. In the end, the film returns to the first sequence, and shows us the people that watch the precariously dangling piano.
 (Kim Il-rhan)