Tomorrow Tomorrow Tomorrow

TOMORROW, TOMORROW, TOMORROW starts where most films about homeless kids end, the day after they are taken in, we assume it's a happy ending - but what really happens next? While on assignment filming orphaned street kids in Mongolia, NYC-based cinematographer Martina Radwan feels drawn to help three of the kids escape their dead-end situations. Naive, idealistic and thoroughly unprepared, she dives in to fix things - is this is a Westerner's savior complex, or something more? As the filmmaker and central character, Martina grapples with what it means to intervene in a meaningful way and if Baaskaa, Baani and Nasaa truly want what she offers them. Martina questions her own intentions, identity and abilities, and wonders what it means to look and document. The film, told over six years, is an honest portrait of how storytellers and their central participants impact each other and addresses the messiness of love and belonging, as well as the universal experience of family and the unexpected journeys we sometimes take to find one.