Ahead of the release in Great Britain and Ireland, the comedian, actress and director was interviewed by the English public TV channel
“The film that beat Barbie in Italy”. Even the BBC she took care of There’s still tomorrowthe film by Paola Cortellesi, box office hit in Italy in the 2023-24 season. Ahead of the release in Great Britain and Ireland, the comedian, actress and director was interviewed by the English public TV channel. “No one could have ever predicted the wave of public participation and affection for this film,” explained Cortellesi, referring to the records broken in Italy, surpassing Barbie And Oppenheimer, breaking the bank box office and placing fifth among the films that have grossed the most (not among the most viewed where it ranks above 70th, ed.) in the history of Italian cinema.
Cortellesi explained that his mini epic of the emancipation of women from the possession/domination of men, set in Rome in 1946, on the eve of the first overwhelming electoral vote granted to women, was born thanks to the 11-year-old daughter, his “muse” for the film, is that There’s still tomorrow could be described as “a mother-daughter love story“: “The whole project came about because I was reading her a book about women’s rights and my daughter couldn’t believe that there was a time when our rights weren’t enshrined in law. So it occurred to me that we needed to talk to the younger generations that they must realize that their rights are not taken for granted. Just because we achieve something, doesn’t mean it will stay there forever. I wanted, in a way, to start passing the baton to a younger generation.”
And again: “I wanted to make a contemporary film set in the past for compare what has changed and what has remained the same. Perhaps now, as women, we have some rights and protections, but what has not changed in society is this mentality that distorts love and turns it into possession. That’s why we need better education.”
There’s Still Tomorrow was released in France on March 13th distributed by a giant like Universal (in Italy, the distributor is Vision ed.) and in the first weekend of programming it suddenly became a case with second place in the rankings behind Dunes 2then word of mouth must not have worked much because in fifteen-twenty days it dropped out of the top ten, finishing after a month around 20th place. It didn’t go very well in Holland either, where the film was released after a week from the top ten and now he finds himself 15th also surpassed by Alice Rohrwacher’s La Chimera.
Finally in Germany where after about twenty days of programming There’s Still Tomorrow it raised 720 thousand euros, surpassed, or rather dubbed, for example even just by a French film, to remain in the field of women’s films, on Maria Montessori. In short, the affirmation and success of There’s still tomorrow beyond the Italian borders is still to be written starting from the results at the English and Australian box office (November 2024). Waiting for a US distribution which isn’t there yet.
