There’s Still Tomorrow: Paola Cortellesi tells the story of a housewife in post-World War II Italy, as she tries to make ends meet in a still ravaged country while she deals with an abusive husband. She uses a very light touch to deal with some heavy issues (the deep-seated sexism and the marital abuse), in particular by taking the more emotionally charged moments and transforming them into fantasy-like musical numbers. That choice doesn’t hide those hard facts, it allows them to shine even more. Cortellesi plays well the hard-working and long-suffering but ever-optimist protagonist; Valerio Mastandrea plays her brutish husband well enough, but the strongest performance belongs to Romana Maggiora Vergano as their eldest daughter, who maybe, just maybe, has a better road ahead of her.

The film is presented in beautiful black-and-white, shot elegantly by cinematographer  Davide Leone. Editor Valentina Mariani moves the story nicely along. The production design, by Paola Comencini, is quite good, showing the squalour of the family (in spite of an almost unrealistic spacious apartment). The anachronistic song selection is interesting.