Yes of course, there violence against women.
Of course, the patriarchy in its heyday, all contained not so much in the slaps of Valerio Mastandrea but in his always cold, superior gaze, that of someone who is doing you a favor by speaking to you.
AND rivers of words have been written about this film describe today by telling us about yesterday, how much it tells us about the present while using black and white.
But at a certain point you realize that it’s not just that. It’s not just about that.
I am convinced that a film becomes a classic when it multiplies reading levels: when, that is, the mere “plot” actually becomes a photograph of something, a feeling, a type of emotional dynamic. An allegory.
Like myths, you know? You read them, and you know that they are never just talking about gods and goddesses, heroes and heroines, but about everyone. Of all of us. And all of them.
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Here you are: There’s still tomorrow it’s not just about a 1940s story: it’s not just about a woman who is the victim of a violent husband and even more so about a culture that has taught her to suffer and stay silent.
It is a metaphor for something much more universal.
You notice it not immediately, but almost. The scene that in my opinion makes you understand this is when the friend of Delia, Marisa (Emanuela Fanelli)shakes his head at the market and tells her to leave him, that husband, to go away.
There, Delia’s response is always the same: “Eh, you have to understand, he fought in two wars”, but we who are spectators of this soul imprisoned in such an obviously unhappy marriage, in short, almost make us want to enter the screen and rebel, break down the fourth wall and join Marisa in saying to Delia “Aò! But then!”
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There’s still tomorrow do you know what he’s talking about, actually?
When you are stuck, or stuck, in a life that is not yours.
When everything around you tells you that you should change, leave, a job that depresses you, a relationship that flattens you, friendships that give you nothing, and yet.
Yet you don’t leave.
Because it seems like nothing, but It takes great courage to make a choice like that. It takes enormous strength to challenge the unknown, conventions, people’s judgments.
How good Mastandrea was in this film, in his role as a socially accepted villain, evil in its most atrocious version: banality. Because precisely like that, it is that force that holds you back to a life that doesn’t belong to you, he has the same grim eyes as Ivano, Delia’s husband, and punishes any attempt to escape with the same powerful slaps. And for society, for conventions, he is the one who is right.
And how vivid Cortellesi’s acting is, in those perpetually tired eyesin those painful Annamagnano-esque wrinkles, in that stubborn endurance in which we have all been, all the times that we have not known – or been able – to say no to something that was killing us inside.
And I like that the ending is that, exactly that (I won’t spoil it, don’t worry).
But it’s nice that I tell you like this, that the only way out of this is all together.
That you cannot rebel against injustices – or stuck lives – using singular verbs. It is always a plural fact, for everyone.
This is what leaves you in the end a film where the whole time you were anxious about watching a soul in prison: the certainty that the bars that life puts around you can always be broken.
The certainty that, no matter how much today seems to have no way out, there is still tomorrow.
THE AUTHOR AND THE NEW NOVEL – Enrico Galiano,, Friulian teacher and writer born in ’77, in the classroom as well as on social media, where he has a large following, knows how to talk to kids. After the success of novels (all published by Garzanti) such as Yet we fall happy, All the life you want, Happy against the worldAnd Stronger than any goodbyehas published a very particular book, It only takes a moment to go back to being a child, illustrated by Sara Di Francescantonio. He then returned to the novel with Sleep tonight on my heartand his first essay was also published by Garzanti, The art of making big mistakes. With Salani Galiano then published his first story for children, The secret society of word savers. And then his second essay came out, again for Garzanti, School of happiness for eternal repeaters. After the novel Geography of perfect painis preparing to return to the bookstore with One life is not enough…
Here you can read all articles written by Galiano for our site, with whom he has collaborated consistently for several years.
