“'There's Still Tomorrow' touches a raw nerve in Italy's macho culture.” As the Financial Times headlines a long article on Paola Cortellesi's directorial debut film, taking aim at the gender revolution which, according to the British economic-financial newspaper, has remained incomplete in Italy. The film, box office hit in 2023, with over 34 million euros made in Italian cinemas, has surpassed blockbusters such as 'Barbie' and 'Oppenheimer'.
“Unfinished gender revolution in Italy”
'There is still tomorrow', recalls the Financial Times, is set in Rome immediately after the Second World War and opens with a man who slaps his wife as soon as she wakes up and is still in bed, telling her 'Good morning'. “It is a portrait of a proletariat family – writes the newspaper – dealing with daily domestic violence, in an era in which Italian women were considered property of the family, even by law“.
I wanted to make “a contemporary film set in the past”, Cortellesi, also the actor and co-author of the screenplay for 'There's Still Tomorrow', shot in black and white and distributed by Vision, explains to Ft. The intent is to help the young daughter of the actress and director to understand the battle of Italian women for rights and dignity: “Men still think that women are their property”, Cortellesi observes to the British newspaper, who retraces the legislative progress of our country in terms of rights, from divorce to the abolition of 'honour killings', up to the transition of rape, in 1996, from a crime against morals to a crime against the person.
“For now, 'There is still tomorrow' – writes the Financial Times – seems destined to remain a point of reference for the unfinished gender revolution in Italy“. And Cortellesi adds: “Women's rights are not eternal – we must always be vigilant and remain alert.” And she concludes: “My intent is to ensure that girls leave the room with the will and desire to feel free.”
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