Nothing Left to Do But Cry

In sun‑kissed Tuscany, two friends from the twentieth century find their ordinary routine disrupted by a strange accident. Mario, a humble janitor, and Saverio, a weary teacher, share a bond forged through humor and hardship, each carrying the weight of personal worries that linger beneath their jokes. One rainy evening a mis‑step on a deserted road leads them far from the modern world and into an uncanny recreation of a Renaissance village that exists as if frozen in the year 1492.

The village itself feels like a living museum, its cobbled streets and bustling butcher’s stalls humming with the rhythms of an era long past. Yet it is more than a backdrop; it is a place where the ordinary and the surreal mingle, where laughter can echo alongside the clatter of swords, and where the air is thick with both the scent of fresh herbs and the undercurrent of ancient feuds. The film’s tone walks a careful line between gentle comedy and quiet contemplation, inviting the viewer to linger on the textures of life in a world that is at once familiar and impossibly distant.

Amidst the stone walls, Mario and Saverio encounter a colorful cast that deepens the tapestry of this odd timeline. A young woman of noble bearing, Pia, offers a glimpse of fragile romance, while the matriarch Parisina exerts a quiet authority over her kin. The formidable brother Vitellozzo and the enigmatic Amazon warrior Astriaha hint at the village’s hidden currents of power, and even a cameo by Leonardo da Vinci suggests that history itself is being reshaped before their eyes.

Together, the friends grapple with the intoxicating idea that they might influence the course of history—perhaps even preventing a voyage that would alter the future. Their modern sensibilities clash and harmonize with the customs of the past, setting the stage for a contemplative adventure that asks what it means to belong, to love, and to hold the fragile thread of destiny in one’s hands.

Last Updated: December 04, 2025 at 16:09