Tomorrow

It is one of the oldest rules of fiction film: never let your actors look straight into the camera, or the public will feel addressed and the suspension of disbelief is lost. In the documentary genre however, it is the exact opposite: the subjects are supposed to face the camera directly, which automatically implies that they acknowledge the authority of the person behind the camera. In her film-installations, Fiona Tan tries to come to terms with both these systems of subjugation. For Tomorrow, Tan stood in the middle of a circle of Swedish school kids. She filmed their young faces and uneasy looks in one slow rotating movement.