The subject of anti-facism has been a common talking point in recent political discourse and even contemporary art. For example, take Julia von Heinz And Tomorrow the Entire World —a detailed cinematic examination on protest culture. The film specifically comments on the strenuous high octane environment found in these groups, that can lead the most well-intentioned of people towards a descent of violence as a form of retaliation and catharsis. It’s a tricky subject to specifically critique, where once the credits begin to role, the focus and intent of And Tomorrow the Entire World feels muddled. 

Von Heinz plays her subject a little too safe, where there’s a strong amount of chemistry and energy in the first half of the film, when it specifically discusses the collision between militant rightists and leftist protestors. The film loses ground however, just like its characters, when it decides to derail its path with a bombardment of subplots. Distasteful romances, espionage, and a forgettable finale all contribute to the lackluster structure of the film.

And Tomorrow the Entire World works best when it specially discusses the morality and thought-process behind politically-engaged violence. The film makes some intriguing points in regards to the susceptible psyche of young adults, and positively endorses the left-wing platforms featured. It just seems as though Von Heinz’ latest venture into the messy vortex of politics is a little too derivative and unfocused for its own good. Ultimately the film paints a rather vague picture of anti-facist groups over a more impactful and honest depiction of these hardworking organisations.

And Tomorrow The Entire World is now available to stream at this year’s 56th Chicago International Film Festival as part of the Women in Cinema and International Competition programs.

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