There is still tomorrow

Direct. Black and white brings us back to an era now far and never forgotten. That conception of the woman will never be truly overcome until she remain, even a man who considers his wife or girlfriend, but also mother or sister, like mere meat capable only of cooking or taking care of their children.

Devastating. Paola Cortellesi does not invent anything. On his debut to the direction, now to be defined with the bang, he tells another story based, however, on those he felt like telling himself. Impossible not to hear it, impossible not to get out of that room devastated for what was seen.

Brilliant. Refined. Respectful. There would be many adjectives that would fully describe this film, but above all these are the ones who most reflect the meaning of what has been staged. Because Paola Cortellesi knew it, he knew he had to respect every woman in every possible way who would go to see her masterpiece. And that's how he brings two of the most beautiful scenes of Italian cinema to room. With genius and respect for women, who could find themselves in the shoes of Delia, Paola Cortellesi brings violence to the stage with wounds that appear and disappear as if by magic, on the notes of "none" of the great Mina. 

Being beaten for Delia, as for many other women, was the routine. They knew that it would happen sooner or later, so much so that it was normal to pronounce words like “Views? It is all solved. " That routine was simply normal, just as it was normal to justify a gesture because there was "the defect of responding".

Even here, however, the Cortellesi does not invent anything. It is not at all uncommon to justify a behavior, a gesture or a word. There are many reasons, but the constant is the fear of suffering even more, of not being believed, or of being and then being persecuted. If one day everything could go well, the day after the sugar it could be in the wrong part of the table. The potatoes could burn, and the pastries could fall to the ground. It did not matter what would happen, the certain thing was that the consequences had to be paid, pretending nothing, thinking about the evening in front of a mirror, aware that the next day the same symphony would be divided. Just like a broken disc, like putting on a record to have dinner in the family. Sooner or later it ends, we put it back from the beginning and starts again that song that, like Delia, we cannot fail to dance.

A delicate moment would be defined, a moment when a film we feel more than ever. The reality, however, is that it is not the time to differentiate the feelings that are experienced in the face of such a film. The truth is that the time to feel close to women as Delia is eternal. About 72 hours. Hoping that 72 hours later it is not our turn. Hoping that ours will never arrive, worried in the meantime of leaving the office and getting by car. With that phone always in the ear pretending a call, and turning every now and then to see who is behind it. This is not the case that tells Delia, but the constant is fear and that comes in every situation, regardless of what you are experiencing. 

Maybe it's exaggerated. Not all men are patriarchals, not all men are male -sided or violent. And this, fortunately, is more true than ever. It is also true that the same prejudices deceive us throughout the film.

This is what Paola Cortellesi did, it is not the fault of the script, perhaps an exchange of jokes with the Divine Emanuela Fanelli, to whom a commendation for the interpretation goes, during a quiet morning at the market, but nothing more. In fact, the most attentive spectators will have seen the writings on the walls behind the every walk. Paola told us several times what he really wanted. 

Watch this film with the eyes of a child, watch it with the eyes of those who have suffered these things passively, as a parent it is easy to see it and feel the need to give even more protection. As children not, for us the parents prevent us from being happy. Imagine being Marcella who, sitting in the room, sees what her mother did for her and you are silent. Because so with a closed mouth, but in mind, a masterpiece worthy of Oscar ends, in front of the eyes of a defenseless husband, masterfully played by Valerio Mastandrea.


Deborah Fiorucci

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