Ainda Temos o Amanhã

I will start by saying that I really love Paola Cortellesi, she is one of the finest Italian actresses of these times, capable of offering the greatest laughs and the most bitter tears, thanks to her versatile acting skills.

This happens throughout this film too. She is Delia, a middle-aged woman who lives with her husband, three children and her nasty father-in-law in terribly harsh conditions. She struggles to make ends meet and to sustain her family, while suffering domestic abuse and dreaming of a past love. When her daughter gets engaged to the son of the local café owner, she senses that her she risks embarking in a life of strain and violence, just like hers.

I loved the performances in this film: Paola Cortellesi, Vittorio Mastandrea (one of my favourite actors), Giorgio Colangeli and Emanuela Fanelli. The use of black and white was clever, as it gives the film a poetic look. I also appreciated the bittersweet scenes: tragedy mixed with comedy.

Nevertheless I wouldn't call this a masterpiece as I thought the storyline was a bit forced, especially with the final surprising end, which seems a bit too detached from the rest of the film...

"C'è ancora domani" is a very pretty film set in a post-WW2 Rome that centers around Delia and her family composed by two young children, a daughter who is about to engage, a violent husband and his father. Thematically the core of the movie is the treatment reserved to women in that era, which is still a significant discussion nowadays because though better than in the 40s' the issue is not solved at all. What I particularly liked about this discussion is the tone because it's not too dark allowing everyone to appreciate the movie and receive the message, but at the same time it's not too light thus avoiding to lose its impact. An example of this which I think was very effective is the treatment of the domestic violence scene that is depressing but there's a gimmick that lightens it while creating a bittersweet contrast. Furthermore the movie has more jokes than what I expected and it relies on a versatile cast able to be dramatic and comedic at the same time. However, even if properly done in most of the instances, few laughs were audible through the theatre because they are more tension reliefs than actual wanted funny moments. And also the final twist is pretty good. The movie did an excellent job in creating a narration that leads to something to then shift towards something else in an elegant way. There are few things that could have been better, in particular the final part of the engagement storyline which I think went outside of the overall tone, but in general they don't compromise too much the final result.

In conclusion I think that "C'è ancora domani" is a film everyone should watch for two reasons. The first one is related to the messages conveyed, while the second one is also pretty relevant: it's a good movie that will entertain all audiences for almost two hours. And this is not a small thing at all.

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!

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.

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.