There’s Still Tomorrow Film Review

Maria Montessori

There’s Still Tomorrow Rating

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Let me set the scene for you.

Italy, post WWII. We are being introduced to what one assumes to be another black-and-white, a run-of-the-mill black-and-white post-war movie to doze off to on a rainy Sunday afternoon, panning into a bedroom with a husband and wife waking up to the promise of a new day. “Good morning, Ivano.” And then…SLAP!

Not metaphorically! A big old slap across the face from a husband, Ivano, to his wife, Delia, and whoa! Now we are off!

We’ve just witnessed something horrible; a man slaps a woman across the face, but the reaction it warrants is to burst out laughing. An embarrassed laugh, an unsure laugh, a shocked laugh. The comical, slapstick timing is so perfectly timed and pitched, as the whole film will pan out. Hooray! This film suddenly got interesting.

Directed and starring Paola Cortellesi, a well-respected and much loved Italian actress and comedienne as the main protagonist of Delia along with a perfectly pitched ensemble cast, including Valerio Mastandrea as the horrible husband, and fantastic young actors as their gorgeous teenage daughter and young sons, and her best friend and ally, Marissa.
One almost forgets this is Italy in the second half of the 1940’s. Delia cannot go to a refuge with her children or book an uber out of there.

Delia remains, constantly insulted and belittled, working multiple odd jobs to contribute to the household income, raising the children, running the household, looking after her handsy father-in-law. And then, a mysterious letter arrives, intriguingly addressed only to Delia. What is written in this letter? Who sent the letter? Such a mysterious piece of paper which Delia lets herself smile about and is excited enough about that feels the urgent need to hide away from Ivano.

Then, more good news. Her teenage daughter has the promise of marriage to a well-off son of a local café owner. Exciting new that will make Ivano happy. So happy to shout out to the other tenants in their building from their barely furnished ground floor flat that his daughter will be marrying into a respectable household. Are things finally looking up?

 

Not to be. We soon come to realise through Delia’s eyes that sadly, old habits are often inherited from generation to generation. Is this young man really a new beginning for the younger generation, or just a younger version of the repressive and threatening husband Delia chose instead of her old flame at the local mechanics who is a gentleman and lets her eat chocolate with him that an American soldier gifted to Delia for her kindness to him.

There’s still tomorrow is a story of repression, domesticity, abuse, survival, love, adversity, and finally, female empowerment. Delicious moments are peppered throughout, when you start to look away as Ivano raises his hand to his Delia, assuming the scene is going one way and then, out of nowehere, a perfectly choreagraphed dance sequence is playing out, like a memory being told that is just so painful that the storyteller is making it more pallatable for the audience. The echoes of West Side Story. And my goodnes, it works a treat.

It is easy to understand how There’s Still Tomorrow was the highest grossing film in Italy in 2023, outperforming Barbie and Oppenheimer.

This is the story of Italian women coming together and having the chance to finally stand up and be counted.

I have already reccommended to all my frfiends in Sydney to go to the Palace Cinma in Broadway tonight at 8.30pm and see for themselves this amazing piece of Italian film.

POTERE DELLE RAGAZZE! Tranlation…GIRL POWER!

To book tickets to this or other films click https://italianfilmfestival.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Maria Montessori Film Review

Maria Montessori

Maria Montessori Rating

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3

Léa Todorov’s directorial debut feature film ‘Maria Montessori’ offers a biopic of the Italian doctor’s journey in revolutionising children’s pedagogy. Maria Montessori transformed societies positioning of children with disabilities, medical conditions, &/or neurodivergence in education, and women in the workforce.

Set at the turn of the 20th century, the film begins in Paris where the esteemed French courtesan Lili d’Alengy (Leïla Bekhti) is confronted by the return of her estranged daughter Tina (Rafaëlle Sonneville-Caby) into her custody.

Lili is ashamed of the disabilities Tina possesses and frightened she will ruin her social standing so she flees to Rome. There she attempts to admit Tina as a boarder to a pedagogical institute that takes in ‘idiot children’ (as they were then referred to). Maria Montessori (Jasmine Trinca) and Guiseppe Montesano (Raffaele Esposito) manage the facility.

Maria accepts Tina into the program, but is unable to offer accommodation, much to Lili’s dismay she must stay based in Rome until a bed becomes available for Tina. Tina makes great academic and locomotive progress at the school, under the caring support and guidance of Maria.

Lili begins to soften her boundaries; a significant turning point of which, is when she plays the piano at the school, and the children delightedly dance along to the music. The music acts as a bridge, that reframes Lili’s perspective of the children’s mental and emotional capabilities, furthermore uniting her with Maria. Maria was initially judgemental of Lili’s abandonment and disavowal of motherhood to Tina, as Lili becomes more involved the two women forge a friendship.

We learn that Maria and Guiseppe are in secret romantic partnership and have a son together, who lives in the care of another woman in the countryside. Maria longs to live with her son Mario (also with disabilities), but she wishes to maintain her autonomy and without marrying Guiseppe he will not claim the child as his own, so the couple are limited to weekend visits to see him. Maria and Lili’s lives’ parallel each other, despite their significant differences.

Both have been estranged mothers in the pursuit of their independence. Lili is shocked to learn Maria doesn’t get paid for her work at the institute and helps Maria pave a path forward to achieve recognition for her pedagogical approach and the ability to grow and transmit the Montessori method.

 

The film offers fantastic subtext on the societal framing and transmission of shame, particularly as it effects nonhomogeneous groups. The casting is fantastic. The youth cast have real life physical and cognitive disabilities. It’s impactful to see the positive representation of people with disabilities being empowered not just through the story’s messaging, but also in its delivery. Rafaëlle Sonneville-Caby’s acting and depiction of her character Tina’s journey is incredibly moving.

Tina has a strong appetite and inclination towards learning. Seemingly non-verbal but with expressive emotional intelligence, receiving praise and love ignite her spark and inner determination. Rafaëlle illuminates Tina’s personality with beautiful authenticity. Several of her scenes were so affecting and poignant I found my emotional-physiological response resounding in fierce protection of her character. The story is one of sisterhood between Maria and Lili, and motherhood of each with their children, moreover motherhood as an approach to education.

Quotations such as “The new pedagogy must acknowledge the sublime art of motherhood” and “An education of love” speak to this and are expanded upon where Maria advocates for women to contribute to the workforce “Motherhood will then become a social model.” I think this idea is powerful and gaining traction in society today, for all it can offer – not just to women, but to everyone.

The story is both inspiring, and a heartbreaking rendering of the complex decisions women were required to make in this time and context. An important cinematic offering from Léa Todorov.

To book tickets to this or other films, click https://italianfilmfestival.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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The Beautiful Summer

The Beautiful Summer

The Beautiful Summer Rating

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1

Adapted from Cesare Pavese’s 1949 novel, ‘The Beautiful Summer’ written and directed by Laura Luchetti offers an evocative portrayal of self-discovery, longing, and sensual awakening. Set in 1938 preceding World War II in Turin, Italy. This coming-of-age story follows Ginia (Yile Yara Vianello), a young seamstress living with her brother Severino (Nicolas Maupas) in a modest apartment.

Ginia and Severino are relaxing at the lakeside with friends when Amelia (Deva Cassel) recognising one of them, swims over to join the group. Ginia is instantly allured by Amelia’s beauty and confidence, and both are curious of the other. Amelia is a nude model for painters. Severino is openly disdainful of Amelia’s choice of occupation, whereas Ginia finds herself intrigued by it.

Early in the film Amelia offers Ginia to watch her be painted, Ginia shyly declines and instead peers through the glass outside. Amelia introduces Ginia to a bohemian world that ignites her imagination. Ginia has her first romantic experience with the painter Guido (Alessandro Piavani) and finds herself curious to model also. The line “I want someone to look at me and show me who I am” reflects Ginia’s journey of self-exploration; as well as a kind of consenting voyeurism and exhibitionism, as a form of communication. Seeing and being seen. Underlying a foundational question- “Who’s vision do we wish to be cast by?”

The film is an emotive tapestry exploring jealousy, control, love, loss, desire, and practicality, with complexity. Yile Yara Vianello offers authenticity to the twists and turns of her characters journey, where polarity emerges at a middle pathway that is both authentic and refreshing.

 

Diego Romero’s cinematography is exquisite in its rendering of Turin’s architecture, landscape, and the casts interplay among them. The subtle shake of the camera in certain shots, and the focus on physical actions contribute to the film’s intimacy and tactile quality. The transition from summer to autumn is conveyed in its fleeting glory, echoing the themes of love and loss.

Autumnal hues are accented by colourist Andrea Baracca, and harmonious choices amongst the art, costume, and make-up departments offer stylistic cohesion that enriches the story. The chemistry between Yile Yara Vianello and Deva Cassel is tantalising. There is a tenderness between their characters, and it’s as if they are both holding a delicate secret together. The pensive piano scores composed by Francesco Cerasi mirror Ginia’s inner landscape, as she navigates her feelings, and choices.

If you like your storylines packaged and labelled neatly, I do not recommend this film. However, if you are like me and enjoy a storyline that feels more like a dance than a march, you will be captivated by the world Luchetti has created.

To book tickets to this or other films, click https://italianfilmfestival.com.au/films/iff24-the-beautiful-summer

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Film Review: Trust (2024)

Trust

Trust Rating

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Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.

The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.

But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.

What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?

Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.

While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.

 

Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.

The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.

Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.

One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances.
The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.

As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.

For more information about the festival and film session details, be sure to visit https://italianfilmfestival.com.au/

Film Review: Trust (2024)
Directed by Daniele Luchetti
Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari
Based on the novel Confidenza by Domenico Starnone
Original music by Thom Yorke

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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