There is a feeling in the room like you are watching a movie made by a friendfrom someone who is particularly close to us, whom we love and who we are truly proud of. Paola Cortellesi She is a brilliant and talented actress, a charismatic woman who, over the years, has managed to break into the hearts of Italians without showing off, without forcing. That explains the people waiting in line at the box office, The room full of people like we haven’t seen in a long time, and that sweet feeling of sharing and closeness that gives the true meaning back to going to the cinema.
In his directorial debut, he doesn’t disappoint expectations, he even exceeds them. There is still tomorrow It’s a beautiful film, intense and full of grace. The black and white images flow across the screen and tell of an Italy that has just emerged from the war and left a country tortured and fear. The references to neorealist cinema are clearly visible, as is Paola Cortellesi’s endless love for it Anna Magnani, from which she is deeply inspired to interpret her Delia. But neorealist cinema is only a starting point, because film has the great ability to be extreme and cruel currentfull of references to these confused years, in which ancient cultural legacies, social inequalities and worrying forms of Machismo.
Also read Cinema | By Chiara Lico.
Me, my children and Cortellesis Delia. The current history of an Italy (still) in black and white
Delia is a mother and wife who is humiliated and mistreated as a woman by her husband/masters and fears not so much for herself but for her children, especially her only daughter, for whom she hopes to avoid the same sad fate . The fights happen daily, but there is violence on screen just mentioned, as well as the markings on the body. The drama is described through directorial decisions sensitive and full of poetry. Delia suffers and is silent, she knows that rebellion is risky in a country that justifies honor killings (which we will not abolish until 1981!) and in a historical time where this is the case Woman does not exist without man. She accepts it and suffers in silence, provoking the anger and indignation of her teenage daughter, who wonders why her mother doesn’t respond, why she endures it without saying a word.
Running away seems to be the only solution, perhaps a romantic getaway with this young mechanic who, every morning when he sees her walking past the workshop, regrets not proposing to her in front of the monster Ivano, played masterfully by her to have asked Valerio Mastandrea. The viewer dreams of this escape and hopes to soon get her out of the nightmare, far away from all the abuse and violence. It could have ended with her deciding to run away with the love of her life and give up everything and everyone to build a better future. But no. The turning point of this film takes place exactly in this direction the final one. Delia has a plan, but her plan does not include escape, because escaping would only be a temporary solution and would mean more than anything give up their children an uncertain fate. Delia’s true courage is to stay and take a clear position, to really act in a way that changes things forever, not just for a few years. Then, on June 3, 1946, Delia went to vote for the first time in Italian history.
Finally it’s time for women to count and Delia can’t waste On this occasion he must do it for his daughter Marcella and for all the women before her who were left invisible too long. Throughout the film, Ivano complains that his wife never shuts up and therefore needs to be punished. In this very powerful final scene, Delia neither speaks nor likes any of the thousands of women at the polls. We vote with our mouths closed, because talking is useless. Resist real change.
Also read Cinema | By Francesco Di Brigida.
From the Rome Festival to the cinema: Thanks to the recordings by Cortellesi and Favino, Italian cinema is smiling
Paola Cortellesi has made a valuable and necessary film, with a strong political message, a great declaration of love for cinema and above all for women, always great protagonists in the history of our country. As the credits roll, the audience applauds and I can’t stop crying. Thank you, Paola, as a wife and mother of a young rebellious girl.