Nobili bugie — Noble lies

Genre: black com­e­dy; Dura­tion: 100 min­utes; For­mat: Cin­e­mas­cope; Year: 2016; Shoot­ing occurred: between April and May 2016. Released: Feb­ru­ary 2018 Pro­duc­er: Geno­ma Films Srl (Pao­lo Rossi); Direct­ed by: Anto­nio Pisu; Sub­ject: Anto­nio Pisu — Fed­eri­co Tolar­do; Screen­play: Anto­nio Pisu — Fed­eri­co Tolar­do; Pro­duc­tion man­ag­er: Emanuela Zac­cheri­ni; Direc­tor of pho­tog­ra­phy: Dario Ger­mani; Edit­ing: Pao­lo Mar­zoni; Cos­tumes: Anna Riz­zoli — Scis­sor’s lab. Make-up and Cos­tumes: Regi­na Lunel­li Pan­cal­di and Anna­mari di Iorio; Scenog­ra­phy: Nico­la Rimon­di; Orig­i­nal Music: Fio Zan­ot­ti; Artis­tic direc­tor: Giambat­tista Assanti. 

Nobili bugie

Plot

On the Bolog­nese hills, a fam­i­ly of fall­en nobles sur­vives its eco­nom­ic decline in the only place it still has: Vil­la La Qui­ete estate. They face the prob­lem of war and cri­sis in the only way hand­ed down from their fam­i­lies: sim­ply by not car­ing. The Duke Pier Dona­to Martelli­ni and the Duchess Romo­la Val­li, tired and deject­ed, reside in their farm with the servi­tude now reduced to a min­i­mum: a young blind gar­den­er and a deaf but­ler, both vet­er­ans of war; and Gio­van­na, the cook con­stant­ly angry and eter­nal­ly in love. What’s more, they must take care of their son Jean-Jacques: an imma­ture fifty-year-old who spends his days com­pos­ing poet­ry with a sin­gle recur­ring theme: the Bologna FC. The solu­tion to all prob­lems occurs at the vil­la in an after­noon like many oth­ers; a man and two women flee­ing, ask for shel­ter from the Dukes; they are Jews, they are called Beni­amino, Anna and Ste­fa­nia. They are will­ing to pay with a gold bar every month of stay and promise to migrate else­where imme­di­ate­ly after the end of the war. The Duchess, after accept­ing, does every­thing to quell every attempt by the ser­vants and her hus­band to steal the trea­sure from the guests and take mat­ters into their own hands. His order is sim­ple: do noth­ing, wait for the fam­i­ly of “refugees” to keep the promise and donate more bul­lion in order to give the oppor­tu­ni­ty to the “fall­en Martelli­ni” to buy back all the prop­er­ties, fur­ni­ture, trin­kets, fam­i­ly mem­o­ries, silk table­cloths, ivory brush­es, rock­ing uni­corn col­lec­tions, which over the years had been forced to com­mit, sell, or give away. The rents fol­low each oth­er, the bul­lion increas­es and just when the Duke and the Duchess final­ly glimpsed a noble rebirth, the war ends. Ter­ri­fied by the pos­si­bil­i­ty of los­ing the only source of income, with the help of his son and domes­tic work­ers, they orga­nize a series of dar­ing ploy, pan­tomimes and sub­terfuges to pre­tend that the con­flict is not over yet. One day, how­ev­er, the vil­la presents a man whom Anna, Ste­fa­nia and Beni­amino know well: Fran­co. From that moment, every­thing changes, and noth­ing will be as it seems…