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“Rimanete originali, senza voler essere a tutti i costi straordinari”. Paola Cortellesi, attrice, sceneggiatrice e regista dell'anno (anche nella nostra classifica del 2023, leggi qui) ha tenuto alla Luiss per l'inaugurazione dell'anno accademico una lectio magistralis sul maschilismo e il sessismo. Una condizione che costringe (lo ha fatto e lo fa ancora in molti Paesi del mondo) metà della popolazione, solo perché femmina, a vivere discriminata o addirittura nella violenza.
L'arma delle fiabe
E come si tramanda questa cultura patriarcale, se non attraverso storie confezionate per bambini e bambine a cui dire sin da piccolissime e piccolissimi quale sia il loro ruolo? Le fiabe sono state un modo per veicolare lezioni, dove convincersi che le donne sono o bellissime e buone o bruttissime e cattive mentre agli uomini spetta il compito di salvare loro e il mondo, disegnando così immaginari. E la cosa più grave è che chi riceve queste lezioni neppure se ne accorge.
“Siamo sicuri che se Biancaneve fosse stata una cozza il cacciatore l’avrebbe salvata lo stesso?”
Ma soprattutto “Perché il principe ha bisogno di una scarpetta per riconoscere Cenerentola, non poteva guardarla in faccia?”
Ecco perché la Luiss ha scelto lei
"Diritti, inclusione e sostegno al merito sono i valori che cerchiamo di trasmettere ogni giorno ai nostri studenti e che trovano, in Paola Cortellesi, un'ambasciatrice straordinaria.
Stimolare la sensibilità e la consapevolezza dei più giovani su temi cruciali come questi significa arricchire la loro formazione e rafforzare l'impegno e la responsabilità di Luiss come Ateneo internazionale, aperto alle sfide del futuro e connesso con il mondo reale", ha commentato il presidente Luiss Luigi Gubitosi.
"Il ruolo del nostro Ateneo è educare alla diversità i futuri leader globali che gestiranno la complessità delle sfide geopolitiche, economiche, giuridiche e tecnologiche che accelerano e trasformano il mondo".
E mentre Paola Cortellesi ha mostrato lo schema sessista ribadendo però che non si tratta di cancel culture, il Financial Times la riempie di lodi affermando che "'C'è ancora domani' tocca un nervo scoperto della cultura macho in Italia".
L'articolo del quotidiano economico-finanziario più autorevole del mondo
'C'è ancora domani', ricorda il Financial Times, prende di mira la rivoluzione di genere che, secondo il quotidiano economico-finanziario britannico, in Italia è rimasta incompiuta.
Ambientato a Roma subito dopo la seconda guerra mondiale e si apre con un uomo che schiaffeggia la moglie appena sveglia e ancora a letto, dicendole 'Buongiorno'. "E' un ritratto di una famiglia del proletariato - scrive il quotidiano - alle prese con la violenza domestica quotidiana, in un'epoca in cui le donne italiane erano considerate proprietà della famiglia, anche dalla legge".
La pellicola, campione di incassi nel 2023, con oltre 34 milioni di euro realizzati nelle sale italiane, ha superato blockbuster come 'Barbie' e 'Oppenheimer'.
Volevo fare "un film contemporaneo ambientato nel passato", spiega al quotidiano Cortellesi, anche interprete e co-autrice della sceneggiatura, girato in bianco e nero con l'intento di raccontare la storia di una donna che ha come obiettivo aiutare la giovane figlia Luaretta a capire la battaglia delle donne italiane per i diritti e la dignità: "Gli uomini pensano ancora che le donne siano di loro proprietà", osserva la Cortellesi al quotidiano britannico, il quale ripercorre i progressi legislativi del nostro Paese in tema di diritti, dal divorzio all'abolizione del 'delitto d'onore', fino al passaggio dello stupro, nel 1996, da delitto contro la morale a delitto contro la persona. "I diritti delle donne non sono eterni, bisogna sempre vigilare e restare in allerta". E conclude la regista: "Il mio intento è quello di far sì che le ragazze escano dalla sala con la volontà e il desiderio di sentirsi libere".
"Per adesso, 'C'è ancora domani' - scrive il Financial Times - sembra destinato a rimanere un punto di riferimento per la rivoluzione di genere incompiuta in Italia".
