Released on October 26th after opening the Rome Film Festival to applause, it continues to set surprising records. Paola Cortellesi’s film There’s Still Tomorrow is a case study: a directorial debut in black and white, a story from a bygone era, but one that reaches powerfully and directly to the hearts of today’s Italians. And so, within six weeks, the popular actress and director broke through another wall: with revenues in the first weekend of December, they exceeded 27 million euros (27 million 281 thousand) and rightly landed in the top ten highest-grossing Italian films ever , Where Forever has meant since 1995, the year of Cinetel’s acquisitions. A ranking of the top ten dominated by Checco Zalone in the first four places (at the top Quo I go with 65.3 million) and with Life is beautiful by Benigni in fifth place, followed by Benvenuti al Sud by Miniero, Ask me if I’m happy by Aldo, Giovanni and Giacomo (with Cortellesi in the cast), Natale sul Nilo by Neri Parenti and Il Ciclone by Pieraccioni.
Not only that, Cortellesi is also one of the top 25 films with the highest grossing figures in Italy, between Italian and international films: in the ranking led by Avatar it is in 22nd place and in first place with 65.6 million euros. But where does he ever want to go? Certainly to displace Christopher Nolan from second place in cinema revenues for 2023, considering that Oppenheimer is at revenues of 27 million 956 thousand euros and, as of yesterday, they are again 675 thousand euros apart, and it will not be difficult. The very likely case will also make There’s Still Tomorrow the first film of the season – Cinetel expects from August 1 – and, moreover, it has just won the Golden Ticket in Sorrento at the end of November, awarded by the cinema operators themselves and sealed with a standing ovation , it was the most watched Italian film of the year with almost 4 million tickets sold (3,980,223 since yesterday). Such successes haven’t happened for years, more precisely since the Zalone era, and objectively speaking they are also genre successes. The heart of the film – + spoiler for the few Italians who have not seen it + – is female emancipation in the post-war period, the first historic women’s election on June 2, 1946 with the queue in front of the polling stations, the role in families and on the Path of Rights, tells a story of women (the protagonist Cortellesi, the little daughter Romana Maggiora Vergano, the greengrocer friend Emanuela Fanelli), filmed by a female director.
There would be nothing to emphasize if we were in times of true equality, there is certainly a new sensitivity and attention, the more looks there are the better it will always be. A few days ago, Alice Rohrwacher hoped to soon “get out of the myth of the ‘prima donna’ director, we need many more and that is the hope.” However, it is impossible not to notice how the vintage of entertainment in general is dominated by women, from Barbie to Taylor Swift and Beyoncé to our Cortellesi, and perhaps the word “phenomenon” can often be used to define these achievements will be given up that three/four phenomena form a trend. And this even after the controversy surrounding the ministerial exclusion of There’s Still Tomorrow from selective public funding. How does Cortellesi experience the great record? Judging by Vision’s social networks distributing the film (produced by Wildside with Vision) in cinemas, they are also ironic: the messages are funny: “If you don’t see There’s Still Tomorrow in the cinema”, how true, God. ..” or “Don’t let anyone tell you where to go.” You know it anyway: in the cinema!” The many meetings in the cinemas, especially the big one with the students, were the greatest satisfaction for her.
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