When Emanuela Fanelli she was called on stage to accept the award as Best Supporting Actress for There’s still tomorrow, during this last edition of the David Di Donatello, she was stunned. She couldn’t believe she had won, she hadn’t prepared any acceptance speech and was visibly emotional. However, when he met the gaze of Paola Cortellesi who was barely holding back her tears, he regained clarity and said: «Thank you with all my heart for wanting your Marisa to be me and thank you for giving me a little piece of this thing. so big that it became your movie. And it became so big for a very simple reason: because you made it!”.
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A few sentences which, however, they contain the complicity, esteem and mutual affection they feel towards each other. And, if watching the film, it was clear to us viewers that there was a real understanding between the two, not acted out in favor of the script, after last night we had no doubts about it. «Paola and I are really friends. We met on the set of Massimilano Bruno’s film The last will be lastand after a couple of years a deep friendship began”, said Fanelli some time ago.
Cortellesi chose Fanelli for his debut filmthe one in which, in addition to the difficulty of trying your hand at a role different from the one for which the public knew you, there is the anxiety of having to respect expectations, of being up to the task, especially if you wanted to bring on the screen such a delicate, but at the same time insidious story. She could therefore only choose for a fundamental role like that of Marisa a person who totally understood her vision and sensitivity and that, above all, it gave the idea of that complicity within sight that only exists between old friends. And Fanelli, as demonstrated by the award, fully succeeded, giving us the audience not only an excellent interpretation, but also the example of two women who support, help, respect and support each other.
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The Davids have given us, without too much rhetoric, a great example of sisterhood: two actresses, two women who have built their bond not only on affection, but also on the common condition of artists in a predominantly male environment, supporting the work of another with the aim of making it emerge, appreciated, restoring all the complexity and tenacity behind it. Emanuela Fanelli’s embrace of Cortellesi, her tears while the actress thanks her summarize this whole complex universe which, in the future, could help to undermine the senseless prejudices about women, especially in such competitive environments where the failure of one can mean the success of the other.
From today, looking at the Davids they have conquered, they will certainly be aware that one contributed to the success of the other. And, perhaps, there is no better reward for them.
