User reviews

"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.

Ill start saying that an applaude rose spontaneously in the theater at the end of the movie. Everyone one was super emotional, I believe each of them for different reasons. Mine is that the movie depicted perfectly the status of women just right after the end of 2WW and the challenges they had to face in everyday life. Something that feels so far way from now, but still not so far away considering all the injustices women nowadays have to live with in every aspect of their life.

Well, the protagonist tries really hard for find a balance dealing with a violent husband, multiple jobs, 3 children and an annoying father in law, but she also surrounds herself with good friends and women with strong personalities.

The pace of the film Is entertaining, great comedy moments, costumes very on point, and the use of the camera very intelligent (at one point, I even recognize an angle that reminded of a famous painting of the Mantegna , the Cristo Morto) Beautiful selection of music as well.

But honestly what really made the film great and emotional, is the finale. It's worth going to the cinema to watch this movie just for this reason.

Obviously I'll not spoiler anything, but be ready to say: wow , what a great debut from Paola Cortellesi.

Paola Cortellesi is extremely talented, both as an actress and a comedian. Now we can also add directing to her resume. This movie has issues, but the undeniable truth is that it's very lovable. The main character is very sympathetic, simple on a psychological level but nonetheless believable. The other standout of the movie is Emanuela Fanelli, who could probably improve every movie she's in at this point. The movie succeeds in creating a lot of tension. There's a specific control of space (the main character moving through the same places every day) that adds a sense of intimacy, of smallness of the world, and at the same time of claustrophobia when Delia (the protagonist) feels trapped in it. An excellent control of tension. Conflicts that would seem small actually appear big and important because of it. The way things all of a sudden become surreal and movie-like help us enter the mind of the character. The best scene in the movie incorporates a weird mix of lighting, camera, choreography and anachronistic in a weird creepy way that I never really see in Italian cinema these days. I would call this movie quirky, nostalgic and heartfelt. An impressive directorial feat.

Now the issues: the concept of the story is not bad, but it's also a bit superficial in tying the personal with the political. The character of the young son-in-law takes a weird behavioral shift that doesn't feel natural. The movie can't fully decide whether to be psychological (where the reality is a grotesque reflection of Delia's psyche) or realistic (where other non-main characters, even villains, actually have depth and believability). The Vinicio Marchioni character is pointless and honestly feels like a mere plot device, a misdirect. There's a moment where two characters who speak different languages all of a sudden understand each other for no reason other than to move the plot. Also the bait-n-switch at the end is weird for a number of reasons, and goes in an unforeseeable direction that feels more like Cortellesi preaching at the audience directly than anything character related. And lastly, the music: some songs worked, but the choice to incorporate music with various degrees of anachronism makes the movie feel fake, like we're not actually watching a period piece but a director toying with an aesthetic to make a point. And that undermines the sincerity of the whole thing.

That's it, that's all I have to say. Movie is good, it's fun, it's tense, it's sad, it's creepy. An outlier in the current Italian cinema landscape.

This movie is perfect in so many ways and I hope it will win everything it can win, from the bottom of my heart. I haven't seen such a beautiful Italian movie in so long. And to think it's Paola Cortellesi's first movie as a director and co-writer makes it even more special.

It is amazingly written, directed and acted. It's brave, powerful, original and you NEED to watch it. It tells a dramatic story with bittersweet tones, keeping it extremely real and revolutionary.

I am Italian so I could obviously understand all the homages and nuances, however I am sure an international audience will appreciate this little gem in a whole.

Go watch it and you won't regret that.

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!

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...

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 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.

First of all it must be specified, because this seems really necessary, that this is neither a neorealist movie nor, so to speak, some kind of revival of neorealism, but more simply an attempt to imitate the neorealist atmosphere and setting obviously with all the flaws that imitations can have.

That being said, it must be said that the direction is quite precise and neat, plus the cinematography is particularly noteworthy. Unfortunately, the acting, particularly of the protagonist who is also the director dealing with her first work behind the camera, appears excessively mannered and stereotyped, unnatural and with an excess of facial expressions that emphasizes how everything in reality is merely pure cinematic fiction (and rather didactic too, I might add). All the opposite of what true neorealism was, which was based on acting that was meant to appear as spontaneous as possible, so much so that as a rule amateur actors were widely used, and without the addition of various artifices or caricatures.

The screenplay could also have developed better, rather than focusing almost obsessively on the continuous repetition of stereotypes linked to the condition of women in those times, domestic violence, and the gender disparity that transcended belonging to different social classes. Obviously this complaint is more than laudable, but wouldn't it have been even more useful to the cause to further develop the description of the condition of women rather than limiting the entire movie to beatings, lower wages, shut up and obey?

The setting is the historical period in which in Italy the referendum was held to choose, as soon as the Second World War ended, between the monarchy and the republic with women obtaining the right to vote for the first time in this period. And all the historical references end here, except for a very brief reference to the "illegal market" and someone who "sold" people to the Germans.

The protagonist, symbol of all women who seek to free themselves and emancipate themselves, is torn between whether or not to leave her violent husband and the entire family to move to the north together with an old love of hers, but emancipation also consists in expressing the right to vote for the first time by going to vote in the referendum. And the ending in practice does not reach full completion, but probably this was intended to indicate that a step has been taken with the obtaining of the right to vote, but the road to the complete emancipation of women is still very long as unfortunately today's daily news still confirms.

I hate going to the cinema, especially when I know I risk finding so many people inside the hall. I hate that because people are noisy and annoying. It seems impossible not to use the smartphone during the screening, not to comment with friends, not to move continuously on the seat, not to eat crunchy things, not to cough or sneeze, not to steal the armrest of the person close to you.

For me the cinema it's a sort of war scenario.

I hate the cinema but I love it too, so sometimes I take the risk and go to war.

I already knew Paola Cortellesi as an actress, and, sorry for this, I think she was not a good one. IMHO she did better when she was a comedian. I already knew Valerio Mastandrea too, he's a good comedy actor... and when one says "comedy actor" he is not saying "actor".

What can I expect from this movie if not another negative experience with my seat neighbors and a modest interpretation from these two comedians?

And instead, sometimes, the cinema does what it should do: magic!

During the screening, people start to pay attention, for real, start to literally sink into the movie.

The black and white film throws us all in another dimension, in a past era, in our grandparents' world. A poor, dirty, harsh, primitive, retrograde, sexist world. But it is the world from where we all come, so, in a sense, we already know it.

And we start to feel the characters.

Paola becomes Delia.

Sorry Valerio, for me you won't be nothing else then Ivano for the rest of your career.

Every single actor is credible, tridimensional, real.

All of us viewers simply stop to be alive, we are in the movie now.

We start to laugh, to cry, to stop breathing in perfect timing with the scenes.

Until the end... when the images go out.

The cinema hall is completely silent.

We freeze for a moment, realizing we are again in the real world.

We are astounded, beaten, emotionally exhausted.

And then the applause started. My first experience with spontaneous applause in a cinema hall outside of the movie festivals. The cinema was empty of pop-corn eaters, coughers, and smartphone users, not cinephiles, but everyone knows that something special has just happened: we've just attended a perfect movie, a masterpiece.

Brava Paola.

The premise of this movie seems interesting but it falls short by executing all the dots of the modern inclusive and gender critical fads. Instead of dealing with poverty and ignorance as a heritage of class oppression it puts it as something that can be remedied by wishfull thinking. All the indigenous males are depicted as by nature predatory and misogynistic, but it is just a anacronistic oversimplification of relations in a family overcome with poverty. It also completely negates that historically this family would not be such a nuclear family of parents, two or three kids and a grandparent without much more diverse relations with cousins, aunts etc. It feels like a projection of a modern reduced and alienated family to a wrong place in temporal continuum. I mean that maybe it could work for that times contempory upper middle class, but making this story in lower class or lumpenproletariat just feels plastic. I don't know, for me it just seems like a denigration of the exploited with added touch of saintly other in the role of black american soldier. It fails as a memento to incredible legacy of italian neorealism. The true keepers of this legacy can be found in iranian movies like Baran or Children of heaven. English is not my native language so excuse me for strange syntaxes.

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.

Fitting nicely into the contemporary crave for female narrative about female characters, the film tells the story of Delia, a colourless housewife stuck in a bad marriage with brutal Ivano, in post-WWII Rome.

Delia and her family (three kids and Ivano's father) live in large, albeit probably unsanitary apartment in a low-income part of Rome. Paola Cortellesi who's the director and also plays main character Delia, chose to film in black & white, but there end the neo-realistic vibes.

The tone of the movie is light, even if it touches heavy topics, such as violence, greed and disrespect towards women. Cortellesi leads you down an easily discernible red herring path, towards an ending that it is not so much a wrap up of the story, but more of a slightly patriotic wishful thinking.

The choice of the soundtrack is debatable, being it extremely anachronistic and slightly irritating with its trying very hard to appeal to the younger audience.

However, an interesting moving with a decent plot.

"C'e ancora domani" is a neo neo relealist movie. The film is situated in Italy just after the Second World War and is (beautifully) shot in black and white.

In the films of the neo realist movement in Italy (directors such as Roberto Rossollini, Vittorio De Sica and the early Luchino Visconti) the first theme was poverty and the second theme (if it was a theme at all) was the role of women in society.

"C'e ancora domani" is first of all about the position of women (main character Delia (played by director Paola Cortelessi herself) is frequently beaten by her patriarchal minded husband Ivano (played by Valerio Mastandrea)) and the poverty theme is a remote second (but definitely is a theme).

Apart from being a tribute to the neo realist movement (with themes reversed) "C'e ancora domani" adds a few elements, although not all of them successful. I will mention a couple of them.

The most successful element are in my opinion the revealing or surprising plot twists. In one revealing scene Delia finds out that the boyfriend of her daughter starts being bossy as soon as the two are engaged. The curse of machismo threatens to transcend generations. Another couple of revealing scenes show how the authority of Ivan melts like snow in the sun when Ivano is alone with his old father. Surprisng is the way Delia ultimately rebels against Ivano in the last scene of the film.

There ars some comic scenes too. In one scene Ivano beats his wife Delia again. The violence becomes rhythmic and turns into a sort of "dance macabre". This scene is in my opinion quite successful. I appreciated much less the scene in which Delia flirts with her childhood love, both showing very rotten teeth. Teeth that recover miraculously in the rest of the movie.

The main defect of the movie is however exaggeration. This exaggerarion makes the message not stronger but weaker. In the first scene of the movie Ivano beats Delia just because she says "Good morning". Why?

In an interview director Cortelessi said that she was very happy that in Italy the film was not only a success but half of the visiters were men. I cannot report such a gender mix from the Netherlands, although my observations are limited to my own visit. I was the only man in the room. Maybe this was also due to the fact that I visited the wednesday afternoon performance.

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.

"There's Still Tomorrow" is one of those films that takes you by the hand and accompanies you on a journey of emotions and introspection. Directed with a sensitive and attentive touch, the film delves into the intricacies of the lives of ordinary characters, capturing moments of extraordinary simplicity and beauty. The plot revolves around the figure of Marta, a woman at a crossroads in her life. Her story mirrors that of many: a daily existence filled with highs and lows, unrealized dreams, and hopes that still shine in the darkness. Marta is portrayed with incredible delicacy, rendering her character authentic and relatable. Her performance is a highlight of the film, bringing a range of emotions to the screen, from despair to pure joy. The director, with subtle mastery, avoids falling into the trap of melodrama. Instead, she chooses to focus on small moments of everyday life that build a larger and more complex picture. The scenes are shot with meticulous attention to detail, with photography that utilizes natural light to create an intimate and warm atmosphere. This visual approach complements the narrative tone perfectly, giving the film an almost documentary-like quality that enhances its emotional impact. Another striking aspect of "There's Still Tomorrow" is the soundtrack. The music, selected with great care, accompanies the characters' stories without overshadowing them. Instead, the notes seem to converse with the images, creating a harmonious balance that makes certain scenes memorable. The music thus becomes a character in its own right, capable of underscoring moments of tension and amplifying those of relaxation. The screenplay is a blend of well-crafted dialogues and significant silences. The dialogues, realistic and never forced, allow the characters to express themselves naturally, revealing layers of their personality with each exchange. The silences, on the other hand, perhaps speak even louder: they are pauses that allow the viewer to reflect, to tune in with the protagonists, and to feel the weight of their experiences. While analyzing the flaws of this film, it can be said that some narrative moments may seem slow, and there are passages that would have benefited from greater dynamism. Additionally, some secondary characters could have been better developed, adding further nuance to the main story. Nevertheless, these flaws do not significantly detract from the overall experience of the film. A central theme of the movie is human resilience. "There's Still Tomorrow" explores how, despite adversity, people find the strength to carry on, to hope, and to build a better future. This theme resonates deeply, especially in uncertain times, offering a message of hope that is both realistic and encouraging. The film excels in showcasing the hidden beauty in small things. An unexpected smile, a gesture of kindness, a moment of solitary reflection: these details breathe life into the story and linger with the viewer even after the film ends. In a cinematic landscape often dominated by grand special effects and complex plots, "There's Still Tomorrow" stands out for its simplicity and honesty. "There's Still Tomorrow" is a film worth watching. It is a work that reminds us of the importance of never giving up and finding beauty even in the darkest moments. Its strength lies in its authenticity and its ability to tell stories of real life with a unique sensitivity. If you're looking for a film that will make you reflect and leave you with a sense of hope, "There's Still Tomorrow" is definitely an excellent choice.

A truly meaningful film. It portrays a naked and raw mirror of Italian society in that specific historical period. Best performance in Paola Cortellesi's career who portrays a strong and determined woman who in her own way tries in a resilient way to carve out her own space. Excellent performance also for Valerio Mastrandrea who portrays a harsh and violent husband. Film that I hope will be shown in all schools. Probably some dialogues could have been handled better as well as the episode of the American military policeman. Overall in Italian cinema it remains a unique work of its kind that I appreciated very much.

This reminded me of one of those beautifully photographed post-war Vittorio De Sica stories with Sophia Loren. This time, it's the long suffering "Delia" (Paola Cortellesi) who is marred to the brutish "Ivano" (Valerio Mastandrea) and lives with their three children and her ailing father-in-law. The love has long since departed their marriage, and a few fleeting conversations with struggling garage-owner "Nino" (Vinicio Marchioni) fills us in on a bit of her own romantic backstory before she met "Ivano". Their elder daughter "Marcella" (Romana Maggiora Verano) is sweet on "Giulio" (Francesco Centorame) who's the son of a local and rather pompous café owner and his wife. "Delia" suspects, though, that any marriage between the pair would merely end up mirroring her own so resorts to some quite ingenious Sicilian tactics before focusing on the one thing that might offer her some sense of individual fulfilment. With the brutality becoming ever more regular, we see a woman who is resorting to desperate measures - but what exactly is she trying to achieve? What's striking about this is the way the violence is portrayed. The kids are always removed from the room and then it's a dance. Almost as if it were being portrayed on stage - and it's entirely effective. Cortellesi directs this too, but avoids falling into that trap of losing objectivity with her impassioned storytelling. It's the variety and spirit of the characters that offer us a touching look at family and community set against a backdrop of extreme chauvinism, political tensions and a little dark humour too. The monochrome presentation works really well and this really is worth a watch in the cinema if you can.

In her first directorial, Paola Cortellesi tries to surprise everyone with a film set in the post-war period, in black and white and with a clear reference to the Italian cinema of Neoralism. The premises suggest an innovative and courageous work. As the minutes pass, however, what you feel is a sort of deja vu, with dialogues, situations and contexts that are all too familiar and not very spontaneous. Spontaneity, naturalness and daily rhythm, which were typical indicators of Neoralism, are absent here. The propaganda towards the redundant violence against women is stinging; the soundtracks out of time and a predictable and disappointing ending, to say the least, make it a disappointing performance, with the clear sensation of addressing a good-natured audience.