In post-war Italy, a housewife dares to break from tradition and dream of leading a new life in the comedy-drama There’s Still Tomorrow (C’è ancora domani). Filmed in black and white using the neorealist style, There’s Still Tomorrow is the directorial debut of Paola Cortellesi, who co-wrote and starred in the lead role of Delia alongside Valerio Mastandrea and Romana Maggiora Vergano.
In the 1940s, following the end of World War II, Italy was going through immense change. With poverty and democracy on the rise, there was a stirring amongst the people that their futures were about to be completely altered.
Delia, a wife and mother of three, is stuck living in a sub-basement home with her abusive husband Ivano (Valerio Mastandrea) and sullen father-in-law Ottorino, who both admonish her for being too outspoken and simple-minded. A testament to how poverty stricken the country was during this time, Delia spends her days running jobs around town to supplement the family’s income, repairing clothes, administering shots to elderly townsfolk, making umbrellas and doing laundry. The whole town is aware that Ivano beats Delia, with her friends and neighbours often making casual commentary. Delia, unable to break the cycle, simply endures. However, her life soon takes a sharp turn after receiving a mysterious letter in the mail; Delia is filled with a sudden burst of hope.
Marcella (Romana Maggiora Vergano), Delia and Ivano’s eldest, bemoans the fact that her younger brothers are able to get an education instead of her. Ivano, a true man of the time, believes a woman’s worth is tied to the home, forcing Marcella to work in a trade and surrender her wages to him. Wanting more for herself, Marcella looks to her relationship with Giulio, a handsome young man whose parents’ local business has left the family very wealthy. When Marcella becomes engaged to her boyfriend Giulio, Delia is thrilled that her only daughter, and by extension the whole family, will be elevated to a life of relative prosperity. But when she realises that Marcella’s marriage will be similar to hers, she secretly works to secure her daughter with true freedom.
Admittedly, I have not seen a lot of classic films, and the ones I have seen were not foreign classics. So, having no point of reference for Italian neorealism, There’s Still Tomorrow felt so unbelievably unique and raw to me. It is truly unlike anything I have ever seen before, and I cannot stress enough the impression this film made on me. Watching Delia struggle to live with Ivano, to see her daughter potentially walk her path, and come to the realisation that she is allowed to want more for them both, was incredibly moving.
Set against the introduction of women’s voting rights and a shift away from fascism post-war, Cortellesi’s film is an absolute masterclass that is so beautifully crafted, it feels as if it was made during the period when it’s set; from the black and white production to the almost documentary-like framework. Devoid of glamour but still incorporating moments of comedy to break through the bleakness of its subject matter, Cortellesi not only directed a powerful piece of film, but acted superbly in it as well. Delia is fierce, outspoken, thrifty and loving while also tragically unkind to herself, and Cortellesi portrays her with immense grace and care.
Despite its setting and style, Cortellesi still manages to make There’s Still Tomorrow feel like a modern film through the use of choreographed dances and contemporary music from artists like Andre 3000. There are brief moments where Cortellesi pulls you out of the fantasy, almost like a reminder that despite the time period, Delia’s life is still a reality for so many women.
If you’re looking for a movie that is exceptionally special, There’s Still Tomorrow will definitely scratch that itch.