‘C’è ancora domani’ Nominated Film of the Year at Nastri d’Argento

The Italian film addressing women’s rights and domestic violence is garnering international acclaim.

The unstoppable ascent of C’è ancora domani (There’s Still Tomorrow), the directorial debut of actress and comedian Paola Cortellesi, continues. The dramedy has been nominated for Film of the Year at the Nastri d’Argento by the “Direttivo dei Giornalisti Cinematografici” (Cinematographic Journalists’ Board). The news officially kicks off the Nastri d’Argento 2024 initiatives, starting in January with awards for documentaries and concluding in June with the presentation of the Nastri d’Argento for Cinema. “Anticipating this decision is the best way to express our wishes to Italian cinema,” explains President Laura Delli Colli on behalf of the National Board. The award also recognizes the contributions of the cast, including Valerio Mastandrea and Romana Maggiora Vergano, co-screenwriters Furio Andreotti and Giulia Calenda, and producers Mario Gianani and Lorenzo Gangarossa. “I thank President Laura Delli Colli and the National Union of Italian Film Journalists for this prestigious recognition that, in addition to me, celebrates the entire artistic and technical team and acknowledges the value of every single contribution,” says Cortellesi.

At this point, it’s clear: C’è ancora domani is nothing short of a phenomenon. The film immediately shot to No. 1 at the Italian box office after opening in theaters in late October, and is now one of the country’s ten highest-grossing films ever. It even captured the attention of The New York Times, which praised the film as a “black-and-white masterpiece that explores the complexities of women’s roles in Italian society.”

Cortellesi, known for addressing societal issues through comedy, believes that the film’s success stems from resonating deeply with audiences. She states that portraying chauvinism and domestic abuse contributed to the unexpected popularity by “having touched a raw nerve in the country.” Set in 1946, the film unfolds during the days leading up to Italy’s historic referendum between Republic and Monarchy, the first that granted women voting rights. Director Paola Cortellesi, also stars as Delia, a woman trapped in a cycle of domestic abuse, yearning for both personal emancipation and a brighter future for her daughter. The narrative skillfully intertwines elements of comedy and romance with the stark realities of the post-war era, creating a distinct fusion that Cortellesi wittily refers to as “pink neorealism.”

The film’s cultural impact is notable. C’è ancora domani was screened in the Italian Senate to mark the United Nations’ International Day for the Elimination of Violence Against Women. Over 55,000 teenage students engaged with the film and participated in a live-streamed Q&A session with the director and cast. Secondary school teachers use the film to initiate classroom discussions on domestic violence and women’s rights. Domestic violence, a crucial issue that women’s organizations, the media, and parliamentary commissions in Italy have been addressing, is now receiving heightened attention and renewed commitment towards creating effective solutions and support systems for victims. Elena Biaggioni, vice president of D.i. Re, a national anti-violence network, views the film as “a propelling force in raising awareness.”

Chiara Tognolotti, a professor of History of Italian Cinema at the University of Pisa, notes Cortellesi’s alignment with a common theme in early Italian cinema by portraying women challenging societal norms. The film explores the tension between patriarchal structures and the acknowledgment of women’s societal roles. Cortellesi aimed to educate Italy’s youth on the history of women’s rights without making a propaganda film.

In capturing the attention of The New York Times, There’s Still Tomorrow emerges as more than a film; it becomes a powerful narrative that transcends borders, shining a spotlight on the universal struggle for women’s rights and the fight against domestic violence. The film’s international appeal is also evidenced by its acquisition in 18 countries across three continents.

Sources: tg24.sky.it, New York Times