By ERIK CHICONELLI GOMES*
Commentary on the film directed by Paola Cortellesi
We still have tomorrow transports us to post-World War II Rome in the 1940s, a period marked by the transition between the optimism of liberation and the adversities of reconstruction. The narrative follows the life of Delia, a woman who finds comfort in her family routine, but who, little by little, begins to question her social role and her individual aspirations.
When observing Delia's character, it is impossible not to reflect on the material conditions that shape individuals' lives. Post-war Italy, as portrayed in the film, is a space of not only physical but also social and cultural reconstruction.
Delia represents the common woman, whose expectations were forged by a context of oppression and conformism, symbolizing a society that values female sacrifice for the sake of family well-being.
The figure of Ivano, the authoritarian husband, reflects the perpetuation of patriarchal power structures, which find in the family a microcosm of broader social hierarchies. This dynamic is central to understanding how power relations are maintained and naturalized in the domestic sphere, serving as a metaphor for the social relations of the time.
The role of Marcella, the eldest daughter who sees marriage as an escape to a better life, allows us to analyze the continuity of social expectations on women. Marcella's decision is permeated by the historical context in which the possibilities of social advancement for women were limited, with marriage being one of the few viable ways of improving social status. status.
The arrival of a mysterious letter, which prompts Delia to reevaluate her life, is a crucial point in the film. This letter symbolizes the entry of new discourses and possibilities into Delia's life, challenging the established order and offering a vision of an alternative future. Delia's restlessness reflects the tension between passive acceptance of the status quo and the desire for personal and social transformation.
The presence of her friend Marisa, who offers comfort to Delia, suggests the importance of solidarity networks between women as a space of resistance and mutual support. These networks are fundamental for building critical awareness about living conditions and possibilities for change, highlighting the vital role of sorority in the struggle for emancipation.
The film sensitively addresses the complexity of female experiences in a society marked by post-war reconstruction. Delia's dedication to her family, while simultaneously questioning her role within it, reveals the duality of being a woman in a world that demands sacrifice and submission, but also offers openings for contestation and the search for autonomy.
Paola Cortellesi's direction is skillful in interweaving these themes with a narrative that oscillates between drama and comedy, creating a multifaceted portrait of women's lives in 1940s Rome. The cast's performances, especially from Cortellesi and Valerio Mastandrea, add depth emotional aspect to the plot, allowing the audience an intimate connection with the characters.
In historiographical terms, the film is an invitation to reflect on how individual stories are shaped by broader social forces, and how these stories, in turn, contribute to our understanding of the historical period in question. Delia and her family's choices are ultimately a reflection of the material and ideological conditions of their time.
We still have tomorrow challenges the viewer to reconsider hegemonic narratives about the role of women in society, proposing a critical reading of the interaction between social structure and individual agency. The film reminds us that, even in times of adversity, there is always room for questioning and transformation.
The narrative is permeated by a perspective that values history from below, focusing on the experiences of ordinary people and their everyday struggles. This focus allows us to appreciate the resilience and resistance of the characters, who, even in the face of limitations imposed by the historical context, find ways to affirm their identity and seek change.
The soundtrack and ambiance are elements that contribute to immersing the viewer in the atmosphere of the time, reinforcing the historical authenticity of the narrative. The attention to detail in the reconstruction of post-war Rome is one of the film's strengths, providing a rich visual contextualization that complements the plot.
When discussing the relevance of Cortellesi's work, it is essential to mention the work of historians such as Joan Scott and Sheila Rowbotham, who explore the social construction of gender differences and women's history from a critical perspective. Scott, in particular, challenges traditional narratives by emphasizing how gender relations are historically constructed and influence all spheres of social life.
Sheila Rowbotham, in turn, highlights the importance of rescuing the voices and experiences of ordinary women, often erased from major historical narratives. Her work offers a valuable lens through which to interpret Delia's story, illuminating the subtle, everyday forms of resistance and adaptation that characterize women's lives in oppressive contexts.
We still have tomorrow it also resonates with the work of historians such as Eric Hobsbawm, who emphasizes the importance of everyday experiences in the formation of historical consciousness. Delia's life and circumstances are tangible examples of the ways in which ordinary people, especially women, navigate and resist power structures, shaping and being shaped by the social forces of their time.
Lastly, We still have tomorrow, through a sensitive and critical approach, offers a deep reflection on the dynamics of power and the possibilities of resistance within the family and society. It is a work that enriches our historical understanding by illuminating the lives of women who, although often marginalized in official narratives, play a central role in building the social fabric.
*Erik Chiconelli Gomes is a postdoctoral fellow at the Faculty of Law at USP.
Reference
We still have tomorrow (C'è anchor domain)
Italy, 2023, 118 minutes
Directed by: Paola Cortellesi
Cast: Paola Cortellesi, Valerio Mastandrea
REFERENCES
Scott, Joan Wallach. 1986. “Gender: A Useful Category of Historical Analysis.” American Historical Review 91 (5): 1053-1075.
Rowbotham, Sheila. 1973. Hidden from History: 300 Years of Women's Oppression and the Fight Against It. London: Pluto Press.
Hobsbawm, Eric. The Age of Extremes. Peace & Earth. 1994.
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