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Il futuro è donna (1984)

The story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for a while, the relationship between the three protagonists is strange, at the very least.

Director:

Marco Ferreri

Writers:

Marco Ferreri (story and screenplay), Dacia Maraini (story and screenplay) | 1 more credit »
Reviews
1 nomination. See more awards »

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Cast

Complete credited cast:
Ornella Muti ... Malvina
Hanna Schygulla ... Anna
Niels Arestrup ... Gordon
Maurizio Donadoni Maurizio Donadoni ... Sergio
Ute Cremer Ute Cremer ... Tiziana
Michele Bovenzi Michele Bovenzi ... Capo
Christian Fremont Christian Fremont
Giorgia Trasselli Giorgia Trasselli
Patti Vailati Patti Vailati
Alessandra Marozzi Alessandra Marozzi
Claudio Burattini Claudio Burattini
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Storyline

The story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for a while, the relationship between the three protagonists is strange, at the very least.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Italy | France | West Germany

Language:

Italian

Release Date:

5 September 1984 (France) See more »

Also Known As:

El futuro es mujer See more »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby

Color:

Color (Eastmancolor)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Soundtracks

Break You Down
Written by Chieregato, Turatti, Tirone, Di Bonaventura, R. Charles
Performed by Josy Nowack
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User Reviews

empty vessels make the most noise
5 March 2015 | by bill-729-637551See all my reviews

Imagine roast lamb, icing sugar, doughnuts and a tin of peanuts, all served on one plate. Something similar happens here, with the gorgeous Ornela Muti and the classy Hannah Schygulla together with a host of good actors, all guided by a great director - and the result is just a boring mess. The music which dominates the first scene is also a great example of why it is fatal to succumb to the temptation of letting modern sounds dominate the background and even smother the dialogue. Thirty years on the music is cringeworthy at best, on a par with some dreadful acting on the part of pretty well everybody including you-know-who. My advice: should you get the chance to see this film - read a book or go to a café with some friends. Get some photos of Ornel Muti if you must - at least they won't say world-shattering lines like "Where are the car-keys?"


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