Paola Cortellesi directs herself, Valerio Mastandrea and Romana Maggiora Vergano in this period comedy drama following a beaten wife’s efforts towards a better life in post-war Italy.

When a flick is marketed as the movie that beat Barbie at its domestic box office… well… that sets these alarm bells ringing. You only have to have to tap out after watching a few of the homegrown billion dollar behemoths that dominate the People’s Republic Of China to know nationalistic popular cinema ain’t nothing to crow about. To pick an example closer to this: Italy’s Life Is Beautiful was a monstrosity of cloying mawk and silly tragedy that the world seemed blindsided by only 25 years ago. And there is some shared DNA with that beloved clusterfuck here. There’s Still Tomorrow even has a Chaplin inspired physical grace to its violence that seems like a bold choice. Should they show the bruises rather than soften the punches? Is the “hip” 21st century jukebox soundtrack a smart decision? Or does it imbue moments with strength and defiance not yet obvious in our protagonist’s actions? All the way through I was uncertain. The lush monochrome cinematography and Cortellesi’s nuanced and iconic central turn overrides my doubts. And the twist finale happens and I left with a smile on my face. Pleased the rocky road had led to the “correct” message of hope. It won me over fully in the closing moments. There were a few times throughout the story when the bigger picture was glimpsed in the background and it revealed itself in a perfect way.

7

Perfect Double Bill: The Basilisks (1963)

I write regular features about live comedy for British Comedy Guide here https://www.comedy.co.uk/people/bobby_carroll/features/