There's Still Tomorrow

This is a masterpiece, a surprise because unexpected. Brilliant story based on true events, but full of symbolisms and deeper meanings that are all connected on the final scenes of the movie. Great directing and acting by Cortelesi, but also great choice of the characters and performancefrom the other actors. The women's universe in Italy back then was complicated and the road to the recognition of their rights was full of obstacles, with many dramatic stories happening. The movie manages also to be ironic and there are moments you laugh. Then suddenly it becomes dramatic again and you want to cry. Then you bacome angry. All these fluctuations are captivating, meanwhile represent the reason why Paola manages to give a powerful message through the art of cinema.

By and large, this film is a truly remarkable achievement. It is a grounded portrait of postwar Italian life, and an unflinching look at the widespread acceptance of blatant misogyny at the time - one which is all-too-easily forgotten today, as many would like to believe a variation of "the West has always been enlightened".

Delia's travails and suffering are often stomach-churning, yet they form a strong, gradual character arc - its culmination adding a human dimension to the real-world political drama which otherwise stays in the background of the story. The script is generally very good at developing its supporting characters as well - from Delia's three children, to her horrifically abusive yet all-too-believable husband Ivano and his bedridden father - down to her neighbours and the family of her daughter's wealthy suitor. Paola Cortellesi has a real gift for taking kitchen-table scenes and making them captivating.

There is only one flaw I would have to point out with the script - and it's the subplot with the Black American soldier at a nearby checkpoint. While it certainly comes from the right place, the way it's handled is surprisingly clumsy and contrived throughout - from the implausibly easy and lucky introduction, to her sudden loss of caution in a way you would have expected her to foresee, and down to the resolution which seems to suddenly overlook the language barrier that defined their interactions up until then. It speaks A LOT to the quality of this film that I still easily consider it one of the year's best in spite of the above.

A saga of domestic abuse and deeply rooted misogyny and somewhat a celebration of female empowerment. Did not expect the ending, I was hoping for something grander for Delia's disobedience, but this goes to show how significant it was at the time.

There is also some humour here and there, but I have to say putting a musical number over a scene of spousal abuse kind of has the opposite effect. It makes light of something awful and I cringed watching it. Or maybe that was also by design, who knows. It's certainly uncomfortable.

The opening scene sure sets the tone and it only gets worse from there. Up to hearing don Ottorino advise his son on how to effectively discipline his wife. Initially I thought he was advocating for her, but no. And then Giulio showing his true colours and Marcella refusing to see it and you can feel Delia's whole being shuddering.

I did not feel like watching an old (style) movie, and this is I imagine the reason why they chose back and white, but the actors' performances make it come to light.

Very interesting debut: a mix of comedy (one-liners), drama (domestic violence), romance (love and friendship). The correct ingredients for a wonderful result. Rome in black & white appears too be a little "didactic", like a good "copy" of old times (just after the 2WW), but pleasant and very faithful to the original one. Delia is a woman like many others, in a common enough situation in those days. The final twist, which slowly makes its way, amazes and exalts the viewer. A spontaneous applause rose at the end of the movie, in a suburban cinema, in Rome. The same Rome that Paola Cortellesi makes us regret.

This is Cortellesi's first movie as a director, and I cannot wait to see the next one!

I can hardly find any faults in this movie; it drags you into post-war Rome from the very first scenes, putting the black and white to good use.

Acting is top notch starting from Cortellesi herself, to Mastandrea's portrayal of an abusive husband, to Colangeli as the obnoxious grandfather.

A special mention goes to Vergano as the daughter - she is much more expressive than many botoxed Hollywood stars, and can speak volumes with her eyes.

There are a few laughs - sometimes bitter ones - even if this is far from being a comedy; the story is well written and the dialogues are crisp.

I didn't foresee the twist at the end of the movie, even if Cortellesi dropped plenty of hints, so I was pleasantly surprised.

I highly, highly recommend this movie. Brava Paola!