Fanelli & Mastandrea: “An honor to be part of Paola Cortellesi’s film.” Golden Ticket “There is still tomorrow”

There is still tomorrow, and tomorrow there will be many more. The film is in its second week in theaters Paola Cortellesi still has the highest grosses, exceeding seven million, at a box office that includes many Italians, Commander of Edoardo De Angelis with Pierfrancesco Favino to 1 million and 700 thousand, I captain of Matteo Garrone at 4 million the phenomenon for children Me against you with 4.2 million the debut of Claudio BisioThe last time we were there was with 1.3 children. The film is the directorial debut of the actress and screenwriter the most-watched Italian film of the year and won the Golden Ticket.

A success blessed by authors and actors, colleagues happy, especially for Cortellesi. Remember Massimiliano Bruno: “We were children and she was already talking about remaking The Honorable Angelina, after twenty years she has succeeded. Applause.” Second Marco Manetti Thanks to the films of Cortellesi and Garrone we return to the cinema, “they speak to the hearts of the audience and bring them back to the cinema”. Daniele Luchetti He emphasizes: “Well-thought-out, constructed films that are produced with big budgets come to cinemas.” They are the happiest Emmanuela Fanelli And Valerio Mastandreawhat in the project of Paola Cortellesi they believed immediately.

Paola Cortellesi, the (very special) backstage area of ​​her directorial debut “There’s Still Tomorrow”

How did you get involved in this film? And what did you think when you first read this story?

Fanelli: “We went to dinner with Paola, she told me about the film in great detail. Only at the end did he say to me: “I want Marisa to be you.” It was a very big feeling both professionally and personally. And that brought even more fear. Paola is an artist that I respect very much. She is full of talent, but she was also fundamental and important to me as a teenager: she showed me how this unconventional work could be done, and that’s why I didn’t want to disappoint an artist so important to me. Person who is very important in my life. This worried me so much. When I read it, I thought it was a really bold decision on his part, debuting in the first film. It was an honor to be a part of it and to be asked to take on the role of Marisa.”

Masthead: “Instead he called me and asked me if I wanted to read the film. I read it and she asked me: Do you think you can do this role? I replied: I don’t think so. But let’s talk about it. We talked about it, we worked on it. She wanted me to do it, but was aware of the risks that came with the character traits I brought with me.

“There’s Still Tomorrow”, the film by and with Paola Cortellesi – trailer

Were you afraid of showing too much empathy for the character?
Masthead: “Exactly. Partly it’s also due to a real lack of Physique du Rôle, of the ability to breathe life into characters. And then the script offered some huge laugh traps. I didn’t create this character at full speed, but with my mouth at the ready, because We had to be very careful and always try to calibrate everything. But I was also flattered that he wanted me by his side for his first work. It’s like inviting your loved ones to see what’s inside you We weren’t invited, we were part of what Paola wanted to make available to the public. And it was beautiful.

Fanelli: “We did a lot of rehearsals before the film and I saw the work that Valerio did with Paola to eliminate any possibility of gags and make it laugh.” He is one of the actors who has the most humorous possibilities has. He taught me a lot. Out of ego and opportunity, Valerio could go down paths he knows well and where he knows he can do his best, and instead he tries new things. It was a lesson.

Mastandrea: “It’s a film where the balance was really subtle and Paola was certainly a little ruthless, very brave and confident in making a film like this, which is a film with an immense, powerful, eternal theme.” However I would say that in doing so he used cinema in the most useful way possible. What the cinema makes possible is certainly less powerful than reality, which is always stronger than a film. But in his poems he tells you reality in a poetic and devastating way, I’m thinking of the violent scenes that are accompanied by these choreographies. It’s a unique thing. It shows you that this spanking routine in this family was like making a record. There are lots of readings.”

Rome Film Festival, Paola Cortellesi, protagonist of the first red carpet of the 2023 edition

The film is also a warm and fitting tribute to a generation of women who rebuilt Italy. What did it mean to you, what relationship did it have with your grandmothers?

Fanelli: “For Marisa, I was inspired, especially in line with my paternal grandmother, my mother Silvana, a Roman and young woman who was a very similar woman during the war. I was also touched by Paola’s decision to turn the lens on a family, an ordinary woman worthy of the general term because she erases any particularity. However, it was the women who truly rebuilt the social fabric of our country, who did not go down in history individually because they performed heroic gestures, but all together are history, so it’s very exciting.

Mastandrea: “My great-grandmother was born in 1902, died in 2003 and lived to see a whole century. Above all, she was the bearer of nursery rhymes, which I really liked because I read in them a black and white life that I had never lived. Work, the right to work, the effort to get a job. And today I can say that in some respects nothing has changed. Unfortunately – without wanting to spoil it – the only thing that has changed is that the ending of this film has enormous value and is now worth almost nothing. That is what moves me most when I see this ending, but it also despairs me when I think that this gesture and this opportunity are viewed in much the same way today. Everything goes through this stuff too.”

Paola Cortellesi: “Even though my film takes place in the past, it looks into the future”