The directorial debut of Paola Cortellesi - actress, comedian and presenter who exploded thanks to the media success of the television program "Mai Dire Gol", who soon became one of the leading interpreters of Italian comedy - is one that any aspiring filmmaker could not, even with all the best wishes, not even imagine. Inspired by the great classics of neorealism, with his "There is still tomorrow" we go back to the immediate post-war period - on the eve of the vote for the election of the constituent assembly on 2 and 3 June 1946 - witnessing a harsh fresco, but also skilfully ironic about the female situation of the time.
Reviving on screen the historical episode which, for the first time in our country, saw women called to the polling stations in the name of their rights , allows us to align ourselves with recent discussions on gender equality both in relational bonds and in terms of labor policy. The context of reflection within which the film is inserted is therefore very prolific, and this has clearly aroused considerable curiosity among spectators.
With similar premises, the box office results mark an impressive achievement to say the least: in fact, according to the most recent numbers, the film grossed approximately 32.2 million euros with 4,745,834 audiences in theaters. Such extraordinary feedback even indicates that it has surpassed the consensus received by Greta Gerwig's "Barbie", a mass phenomenon of the last summer season which stopped at 32.1 million and 4,390,410 admissions. This can only be the result of the continuous word of mouth that exploded among spectators, who in this way were able to constantly renew their interest in this first work.
From this we can deduce that "There's Still Tomorrow" rightfully ranks in fifth place among the highest Italian box office grosses in history, even surpassing the classic "Life is Beautiful" by Roberto Benigni, which stopped at 31.2 million. The obstacle that Cortellesi's debut was unable to overcome is Checco Zalone's comedy “Che bella giorno”, still placed at a clear distance with its 43.4 million.
In addition to the box office success, the film was promoted with flying colors by Italian and international critics, considered among the best productions of 2023 and one of the best Italian films of the entire 21st century. It is therefore not surprising that the Board of Film Journalists chose to award him the "Silver Ribbon" as film of the year, which will be awarded at the next edition scheduled for June 2024. President Laura Delli Colli, on behalf of the National Board, wanted to express the reason for this choice with the following considerations: «Anticipating this decision is the best way to express our best wishes to Italian cinema. Paola Cortellesi's debut behind the camera, in addition to the titles that will be voted on in May, has already demonstrated that it deserves particular emphasis on excellence with an award that rewards - in addition to the sensational box office results - originality and value of a film that continues to make a country talk. There's Still Tomorrow has demonstrated since its debut a real turning point not only in the relationship with the public, but also in the ability to read in the story of a woman of yesterday themes that touch an exposed nerve in society and in the tragic everyday life of the past which for women does not seem to have eliminated gender violence or discrimination."
These words were followed by heartfelt thanks from Cortellesi: «I am happy that the Silver Ribbon for Film of the Year was awarded to There's Still Tomorrow. I thank President Laura Delli Colli and the National Union of Italian Film Journalists for this prestigious recognition which, in addition to me, celebrates the entire artistic and technical team and recognizes the value of every single contribution. A Ribbon that I dedicate to all the people who trusted me from day one and who worked alongside me with passion and kindness."
Giovanni Scano