Italian Cinema Confronts Gender Violence with New Urgency

Italian cinema is increasingly addressing gender-based violence as a structural issue rather than a narrative device. Paola Cortellesi's 2023 film "C'è ancora domani" broke ground by depicting domestic violence as a systemic problem, using black-and-white cinematography as a political choice. Ivano De Matteo's "La vita possibile" (2016) follows a mother's escape with her son, showing violence persisting in memory and distrust. Stefano Mordini's "La scuola cattolica" (2021), based on Edoardo Albinati's novel, examines the cultural humus of bourgeois privilege and authoritarian education that breeds misogyny. Irish Braschi's "L'amore rubato" (2016), from Dacia Maraini's story collection, reveals the pervasiveness of gender violence across society. Francesca Schirru's "Malamore" (2025) depicts mechanisms of domination without filters. The article argues that Italian cinema is developing a new grammar to discuss gender violence, moving beyond silent victims to portray women as agents of change. The legacy of "C'è ancora domani" may inspire further narratives that not only denounce but rewrite the story.