There's Still Tomorrow

Tropic Sprockets by Ian Brockway

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Using the neo-realist black and white style of Roberto Rossellini to great effect, actor Paola Cortellesi directs “There’s Still Tomorrow,” an engaging and emotive tale set in post-World War II Italy. The film is impactful and affecting and a stinging indictment of male patriarchy during the Italian 1940s.

In post-war Rome, American troops roam the streets. Delia (Director Cortellesi) is an abused mother of three. Delia’s husband (Valerio Mastandrea) is violent, controlling and sexist, treating Delia as a slave. Delia dreams of a liberated life away from her husband. Secretly, she visits her former love Nino (Vinicio Marchioni) but realizes it can only be platonic.

Walking the street, she notices that a black American soldier ( Yonv Joseph) has dropped a photograph, and Delia returns it to him. The soldier is fascinated by the Italian woman.

Delia’s husband Ivano continues to beat and belittle her. Her daughter Marcella (Romana Maggiora Vergano) is about to be engaged to the wealthy Giulio with movie star looks (Francesco Centorame) but then learns, to her horror, that Giulio is also violent and controlling.

Delia takes matters into her own hands.

The film is chock full of solid understated performances. Paola Cortellesi is perfect. The cinematography by Davide Leone is stunning. Every frame of the film rivals a Master painting.

Surrealistically, “There’s Still Tomorrow” subverts the sobriety of Italian Neorealism by featuring contemporary songs by the fusion hip-hop group Outkast including “B.O.B. – Bombs Over Baghdad” this gives the story an edgy postmodern feel, transforming the mid- 40s-set film into Punk Rock.

The film ultimately makes women weaponized and powerful. All they have to do is silently and forcefully refuse male expectations and orders.

The refusal to comply is the ultimate act of Rebellion.

Write Ian at ianfree11@yahoo.com