Imagine living with your mother. Chantal Akerman’s deliciously playful and thought-provoking Tomorrow We Move is the story of Charlotte (Sylvie Testud), a young, chain-smoking, erotic story writer, and her mother Catherine (Aurore Clement), a music teacher who moves in — after the death of her husband — grand piano in tow. The irrepressible, Belgian-born Akerman — whom film critic J. Hoberman once called ‘arguably the most important European director of her generation’ — has created a film that is audacious, musical, and filled with giddy slices of Parisian life. Escaping their cluttered apartment, Charlotte eavesdrops in cafes, gleaning banaland impassioned phrases for her erotic novel, and ends up with more imaginary than real experience of Eros. Her mother insists on givinghealthy doses of romantic advice to her daughter while arbitrarily moving furniture in and out of the apartment. When they decide to relocate, a parade of prospective buyers traipses in and brings the process of showing one’s home to strangers to a hilarious level of absurdity. In several characters, Akerman has created surprising and unsentimental portraits of survivors of the war. She boldly deconstructs stereotypes of survivor quirkiness, while creating a drama in which her characters’ motivations are not always clear, but are always delightfully human. Testud and Clement are charming and give tour de force performances as daughter and mother in search of happiness, or at least love and a finely tuned piano.