‘There’s Still Tomorrow’ Review: A Beautifully Crafted Look at the Resilience of an Abused Housewife in Post-War Rome

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2023’s Italian blockbuster hit, “There’s Still Tomorrow,” makes its way to American movie theaters at last. Set in June 1946, a month before Italian women cast their first votes in elections, this elegantly designed, subtly humorous black-and-white feminist dramedy delves into the strength of a mistreated, working-class housewife in post-war Rome. This groundbreaking film is the daring directorial debut of Paola Cortellesi, who not only stars but also co-authored the well-crafted script with Furio Andreotti and Giulia Calenda. Despite its grim subject matter, it’s surprising yet exhilarating to say that this movie offers an electrifying portrayal. The film’s sensitive handling of violent scenes combined with its skillful changes in tone and exceptional cinematic quality make it truly unique.

As a devoted cinema enthusiast, I had the immense pleasure of discovering “There’s Still Tomorrow” back in 2023 at the Rome Film Festival, where it swept three prestigious awards, including the audience favorite. Ever since then, this profound film and its powerful message of female resilience and empowerment have resonated deeply with audiences worldwide. It garnered top honors in Sydney, Goteborg, and Pingyao, and was showered with national accolades in numerous countries.

In the challenging post-war era of Rome, American military policemen continue to walk the streets. Times are tough for the working class, who grapple with meager wages and food scarcity. For most women, life proves particularly arduous; they are often viewed as inferior by their male counterparts, enduring a lifetime of hardships in silence because such treatment was considered part of the culture at that time.

Delia (Cortellesi), a diligent woman, resides in a modest basement apartment that houses her verbally and physically abusive husband Ivano (Valerio Mastandrea), their boisterous sons, their pretty teenage daughter Marcella (Romana Maggiora Vergano) and an unsupportive, misogynistic bedridden father-in-law Ottorino (Giorgio Colangeli). The film’s initial scenes depict the unfortunate domestic circumstances Delia finds herself in: a slap from Ivano before she can even rise from bed, Ottorino making lewd advances when he retrieves his bedpan and Marcella’s disregard for her powerlessness. She needs permission from Ivano to leave their home.

In spite of the disregard she faces at home, Delia – who appears worn but graceful – is valued, though not financially generously, for the extensive labor she does outside their household: making umbrellas, repairing lingerie, administering injections, doing laundry. Although Ivano takes her earnings, as well as those of Marcella, whom he compelled to abandon school and learn a trade, Delia has still found a way to save approximately 8,000 liras, which she intends to use for her daughter’s wedding dress.

When Marcella gets engaged to Giulio, who is the son of pretentious cafe proprietors, Delia assumes that her daughter will have a more prosperous life. However, one day she secretly listens to how the young man speaks to her daughter, and it raises red flags for her. With the help of a kind American soldier named Yonv Joseph, who is sympathetic to Delia’s concerns, she manages to disrupt their relationship and seeks out a more advantageous use for her money for Marcella’s benefit.

As a cinephile, I found myself deeply immersed in this film’s narrative, which skillfully transported me to its unique timeframe, making the world feel tangible and authentic. The screenplay cleverly manipulates anticipation by presenting us with Nino, a soft-spoken mechanic who once adored Delia and still harbors those feelings, adding an unexpected layer to her character. To top it off, a cryptic letter intended for Delia adds an enigmatic twist that keeps the audience guessing throughout.

In this lively conversation, much of the humor is found, revealing the social divide and the historical context of Delia’s world. The irrepressible, rough-around-the-edges Ottorino often delivers the most memorable lines, discussing topics such as the advantages of cousin marriage and his past occupation in tomb raiding and selling artifacts to wealthy Fascists.

Drawing inspiration from Italy’s “Pink Neorealism” style, characterized by authentic characters and a love story woven in the narrative, Cortellesi and her crew elevate their work through creative use of music. At certain points, the music serves as a contrast to the romantic era tunes that underscore the action, while on other instances, they transform musical choreography to portray domestic abuse scenarios.

The captivating Cortellesi portrays a woman who transforms from being a passive doormat to a defiant figure with great authenticity. She is supported by an ensemble of talented actors, each delivering compelling performances regardless of their roles’ size. What stands out most is the camaraderie among women, such as Delia, the neighborhood housewives, who empathize with her struggles and offer assistance in whatever way they can, be it emotional support or lending household items.

As a devoted admirer, I must express my appreciation for the thoughtfully designed credits. Among the many aspects that impress me, Valentina Mariani’s exceptional editing technique stands out the most. Her precise cutting style brilliantly accentuates the stark contrasts between Delia’s domestic life and the world beyond her home, making the narrative even more impactful.

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2025-03-07 02:50