Elena Emma Sottilotta

Paola Cortellesi’s Magic Spell: Domestic Violence and Fairy-Tale Subversion in C’è ancora domani (2023)

Introduction

Paola cortellesi’s magic spell: domestic violence and fairy-tale subversion in c’è ancora domani (2023) . Explore Paola Cortellesi's "C'è ancora domani" (2023), analyzing domestic violence, female roles, and the film's subversive take on fairy tales. A deep dive into Italian neorealism and women's hope.

Abstract

Paola Cortellesi’s C’è ancora domani (2023) portrays happiness and misery within the confines of domestic life, giving prominence to the themes of gender-based violence and women’s hope for redemption. Drawing on the tropes of neorealism, the film is centred on Delia, a working-class woman who lives under the brutal oppression of a despotic husband, on the eve of the 1946 institutional referendum that inaugurated the birth of the Italian Republic. Initially a submissive Cinderella-like character, Delia toils inside and outside the domestic walls to support her family despite relentless beatings and humiliations. By combining a close reading of key scenes with an exploration of the film’s soundscape and its reception, this essay argues that C’è ancora domani can be interpreted as a subversive fairy-tale film. The director herself drew a connection between the film and fairy tales in a speech she delivered at the Luiss Guido Carli University in Rome in January 2024, which sparked a heated debate in the Italian press on the sexist nature of classic fairy tales. The film radically questions clichéd representations of female roles, repeatedly trumping audience expectations with its revolutionary edge. This subversive power, infused with an underlying longing for hope, aligns with the transformative spirit of the fairy-tale genre. Throughout the film, Cortellesi juxtaposes scenes of domestic violence with moments of ironic levity, accentuating the chasm between Delia’s grim reality and her dreams of escape. By putting the film into conversation with fairy-tale studies, this essay ultimately interprets C’è ancora domani as a work of art that boldly subverts women’s traditional roles within the domestic space.

Review

This paper presents a highly pertinent and engaging analysis of Paola Cortellesi’s acclaimed film, *C’è ancora domani (2023)*, interpreting it as a subversive fairy-tale narrative. The abstract effectively outlines a compelling argument that the film, while rooted in neorealist tropes and depicting the harsh realities of domestic violence in post-war Italy, cleverly challenges traditional representations of women and offers a powerful message of hope and redemption. By focusing on the transformation of Delia from a submissive, Cinderella-like figure, the study promises a fresh perspective on a film that has already generated significant critical and public discussion, including a timely connection to the ongoing debate surrounding classic fairy tales and sexism. The methodology appears robust, combining a close reading of crucial cinematic moments with an exploration of the film's evocative soundscape and its broader reception. This multi-faceted approach is essential for fully unpacking how Cortellesi juxtaposes grim reality with moments of "ironic levity" to create its unique "revolutionary edge." The paper's explicit engagement with the director's own commentary regarding the film's fairy-tale elements further solidifies its analytical foundation, demonstrating a well-informed and contextually rich interpretation. Placing *C’è ancora domani* "into conversation with fairy-tale studies" is a particularly promising avenue, suggesting a sophisticated interdisciplinary engagement that will illuminate the film's nuanced critique of women's traditional roles within the domestic sphere. Overall, this essay promises to be a valuable contribution to both film studies and feminist scholarship. Its reinterpretation of a contemporary and impactful film through the lens of fairy-tale subversion offers a compelling framework for understanding the interplay between genre, social commentary, and audience expectation. The emphasis on the film's "transformative spirit" and "underlying longing for hope" ensures that the analysis transcends a purely deconstructive approach, highlighting the enduring power of narrative to inspire change. Given the timeliness of its subject matter and the innovative analytical framework, this paper is strongly recommended for publication, as it offers a insightful and thought-provoking examination of a significant cultural phenomenon.

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