What Is Nothing Left to Do But Cry About?
The premise of Nothing Left to Do But Cry in 328 words, with nothing given away. The full story follows below.
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.
What Happens in Nothing Left to Do But Cry?
The complete story of Nothing Left to Do But Cry, from the first scene to the last, in 1,023 words (about 4 minutes). Spoilers throughout.
Spoilers ahead
In the sun-kissed hills of Tuscany, a quiet life begins to buckle for two old friends. Mario [Massimo Troisi] works as a janitor, and his companion is Saverio [Roberto Benigni], a teacher who carries more worry than most people. One ordinary day, the pair are stalled at a railway crossing, waiting for a train to pass, and their bond—defined by humor, trust, and shared burdens—is put to the test as they drift onto a road that threads through open fields. Saverio frets about his sister Gabriella, who has fallen into a deep depression after a failed romance with an American boy, and the two friends lean on each other to weather the uncertainty ahead.
When a stretch of rain blurs the evening, they seek shelter and end up in an inn for the night, sharing a room with a stranger who seems to have already claimed part of the place. The next morning, their lighthearted banter is suddenly stilled by tragedy: a guest, momentarily carefree and laughing, is struck down by a spear from outside the window. The scene quickly shifts from a joke to danger as they glimpse figures in dark cloaks on horseback patrolling the ground floor, and an eerie sense of the unknown settles over the inn.
What begins as a terrifying encounter becomes something stranger still: Mario and Saverio realize they have stumbled into a staged, imaginary Renaissance village in the year 1492. A man—somehow both guide and jailer—explains the premise with an unsettling calm, and the two friends must confront the brutal reality of a place where loyalty and violence mingle as freely as the rain. They are taken in by Vitellozzo [Carlo Monni], the brother of a dead man named Remigio, who recounts a family feud with a menacing foe, Giuliano del Capecchio, who is tearing at the village’s fragile peace. In this new world, daily life revolves around a butcher’s shop where mates and strangers alike endure a harsh, almost ritualistic routine of slaughter that forces Mario and Saverio to navigate moral lines they never thought they’d cross.
Within this Renaissance microcosm, the pair encounter a mix of personalities and power plays that test their beliefs and tolerance. Saverio quickly adapts to the rhythms of the village, while Mario remains skeptical about settling into a world so starkly different from the one they know. The two men find themselves drawn to two very different paths: Mario’s cautious curiosity gradually gives way to a personal curiosity of his own, including a budding connection with Pia [Amanda Sandrelli], a young woman from a wealthy family who appears behind the walls of her protected home. Their brief, tender exchanges hint at what life might be like if a door could ever truly open between two worlds.
Meanwhile, Parisina [Livia Venturini], the matriarch of Vitellozzo’s family and the mother of Remigio, adds a layer of complexity to the villagers’ dynamics. She, like many others in this strange enclave, embodies both warmth and danger, shaping events in ways Mario and Saverio can scarcely predict. A sense of doom lingers as Mario and Saverio attempt to make sense of their surroundings, sometimes clashing with the local customs, sometimes slipping into moments of inadvertent camaraderie.
As the plot thickens, Saverio’s restless energy pushes him toward audacious, almost reckless schemes. He urges Mario to imagine a far-fetched mission: to travel to Spain and seek out Christopher Columbus, with the aim of stopping the voyage to the Indies so that a future American romance might never come to be. The motive is personal and obsessive—a desire to rewrite a life that has already begun to intrude upon theirs. In this bizarre quest, Saverio embodies a blend of intellect and impulse that makes his friendship with Mario both essential and precarious, revealing how far two men will go to protect their own choices and the people they care about.
The village’s strange balance is further unsettled when the two travelers, accompanying Vitellozzo or moving through the town on their own terms, cross paths with a striking figure—the Amazon Astriaha [Iris Peynado]—who radiates danger and power. She confronts the travelers with a bold, bewildering threat, firing an arrow at their wagon and reminding them that this is not a place to be trifled with. The encounter underscores how quickly the line between comedy and peril can blur in this peculiar Renaissance world.
Throughout, the film threads together moments of humor, fear, romance, and philosophical musing, inviting viewers to ponder questions about fate, history, and the human urge to rewrite life’s chapters. The tone remains measured and contemplative, even when the events grow more surreal, offering a steady, reflective mood that allows the audience to absorb the absurdities without losing sight of the characters’ core humanity. In the extended version of the tale, additional episodes unfold, deepening the quirks and dangers of the village and enriching the relationships that Mario and Saverio navigate as they attempt to find their way back—or to decide what home truly means in a world that seems to keep shifting beneath their feet.
In the Renaissance village, memories of the real world tug at Mario and Saverio as they encounter famous names, strange powers, and the everyday urgency of survival. They learn to read the village’s signals, to listen for the whispers of those who govern this land, and to balance their own needs with the demands placed on them by an environment that demands more than mere patience. The result is a thoughtful, character-driven journey about friendship under pressure, the pull of romance, and the unsettling lure of histories that seem to bend in the wind.
Note: The cast treated here anchors the story to its specific performers: Mario is brought to life by [Massimo Troisi], Saverio by [Roberto Benigni], Pia by [Amanda Sandrelli], Parisina by [Livia Venturini], Vitellozzo by [Carlo Monni], the Amazon Astriaha by [Iris Peynado], and Leonardo da Vinci appears in the village through [Paolo Bonacelli]. These connections ground the narrative in the performances that shape its tone, while the evolving plot remains faithful to its dual-edged exploration of friendship, fate, and a history that refuses to stay past.
Nothing Left to Do But Cry Timeline: Every Key Event in Order
12 key events in the order they happen, from “Opening in the Tuscan countryside” to “Endings diverge”. 12 events name a place, across 12 locations.
- 1
Opening in the Tuscan countryside
Mario and Saverio begin their day in the Tuscan countryside, waiting at a level crossing for the train to pass. The two friends trust each other, and Saverio worries about his sister Gabriella, who is depressed after a failed relationship with an American boy. After the delay, they decide to travel along a road that cuts through the fields.
When:Opening scene Where:Tuscan countryside
- 2
A road trip through the fields
They head out along a rural road through the fields and soon find their car stuck in the middle of nowhere. They joke and rely on their camaraderie to pass the time, but the situation grows more uncertain as the landscape changes. The delay becomes a catalyst for the strange turn their day will take.
When:Afternoon Where:Tuscan countryside road
- 3
Evening rain and search for shelter
As evening falls and rain begins, Mario and Saverio struggle to move the car and seek shelter. They eventually find an inn and rent a room for the night, unaware of the world to come. The ordinary stop on a road trip becomes the gateway to a surreal experience.
When:Evening Where:Countryside road / inn vicinity
- 4
A deadly inn incident
Next morning they wake to a disturbing scene when a guest, jokingly urinating from a window, is slain by a sudden spear. The inn erupts in panic as more violence erupts, signaling that something is terribly wrong. The event marks the first hint that they have slipped into a bizarre, dangerous reality.
When:Morning Where:Inn
- 5
Transport to a 1492 village
Rushing downstairs, they encounter other people dressed in strange attire and realize they are in an imaginary Tuscan village of 1492. A man explains their new setting and their world becomes an uneasy mix of history and fantasy. They must resign themselves to this impossible situation.
When:Immediately after murder Where:Inn leading to Renaissance village
- 6
Taken in by Vitellozzo
They are taken in by Vitellozzo, the brother of Remigio, who tells them of a deadly feud with Giuliano del Capecchio. Mario and Saverio slowly adapt to life in the village and begin working in the slaughter shop to survive. The Renaissance world tests their loyalties and their friendship with intensifying pressures.
When:Shortly after arrival Where:Vitellozzo's village / slaughter shop
- 7
Mario meets Pia
While Saverio seems to settle in, Mario remains reluctant to stay, clinging to his past. During a religious function, Mario meets Pia, a girl from a wealthy family, and their relationship begins to form as he looks out from the wall of her house. The budding attraction challenges Mario's reluctance and hints at consequences beyond their exile.
When:During religious function Where:Village church / Pia's house vicinity
- 8
A plan to intervene in history
The feud and arrests intensify: Vitellozzo is arrested, prompting Saverio and Mario to draft a bold plan to intervene in history. They write a letter to Girolamo Savonarola asking for his intervention or release. Their political zeal pushes them to imagine changing the course of history, even as their immediate survival depends on acceptance of the village's rules.
When:After arrest Where:Village
- 9
A risky voyage to Spain
Spurred by their plan, Saverio and Mario decide to travel to Spain to meet Christopher Columbus and deter him from sailing to the Indies. They set off together, a risky journey that fractures their sense of time and place. The voyage becomes a test of friendship as well as courage.
When:On the road towards Spain Where:On the road toward Spain
- 10
Encounter with Columbus and Astriaha
On the journey they come across Christopher Columbus, and the mission to alter history takes an unpredictable turn. In an unspecified location, they encounter Astriaha, a beautiful Amazon who intimidates them by firing an arrow at their wagon. The encounter reinforces the film's mixture of myth, history, and danger.
When:Unspecified Where:On the journey toward Spain / unknown location
- 11
Astriaha's arrow and the shifting fate
Astriaha's arrow punctuates the danger of meddling with history, reminding them that time is unstable and consequences are uncertain. The travelers realize their choices could alter not only their own fate but the course of the world they have left behind. The narrative continues to blur lines between fantasy and reality.
When:Unspecified Where:Unknown location on journey
- 12
Endings diverge
At a narrative fork, the film presents different endings depending on the version: the standard and extended cuts conclude in notably different ways. The fates of Mario, Saverio, Pia, and the village inhabitants remain unresolved within the frame of the movie. Viewers are left to interpret the meaning of their time-traveling odyssey.
When:End of film Where:Unspecified
Who Are the Main Characters in Nothing Left to Do But Cry?
7 characters, among them Mario (Massimo Troisi), Saverio (Roberto Benigni) and Pia (Amanda Sandrelli): who each one is and the part they play in the story. Every profile links to the actor’s page.
-
Mario (Massimo Troisi)
Played by Massimo Troisi
A reluctant, loyal friend who prefers simple life and practical jokes to grand schemes. He grows from a carefree janitor into someone who confronts danger with humor and grit, especially after the Renaissance village ordeal encroaches on his comfort zone.
- 🎭
- 🛠️
- 💪
-
Saverio (Roberto Benigni)
Played by Roberto Benigni
A teacher and perceptive, politically minded friend who worries about his sister and toys with grand schemes to avert fate. His intellectual ardor drives him to propose bold, even impossible, plans, revealing his restless spirit.
- 🎭
- 🧠
- 🗺️
- P(
Pia (Amanda Sandrelli)
Played by Amanda Sandrelli
A rich girl's love interest who becomes a focal point for Mario's curiosity. She represents social access and romance within the restrictions of Renaissance-era society, offering a glimmer of personal happiness amid danger.
- ❤️
- 💎
- 💃
- V(
Vitellozzo (Carlo Monni)
Played by Carlo Monni
Head of a family involved in the feud; host to Mario and Saverio and a figure tied to the violent power dynamics of the village. His actions reflect the harsh realities of revenge and loyalty in a lawless frontier.
- 🏛️
- ⚖️
- 🗡️
- P(
Parisina (Livia Venturini)
Played by Livia Venturini
A mother figure in the village who interacts with the newcomers and becomes entangled in the local social web. Her presence signals maternal ties and the domestic side of a community under threat.
- 👩👧
- 🏡
- 🕊️
- A(
Astriaha (Iris Peynado)
Played by Iris Peynado
A striking Amazon-like figure who interrupts the travelers with an arrow, introducing an element of danger and myth. She embodies a wild, otherworldly force in the Renaissance tapestry.
- 🗡️
- 🦅
- 👑
- PI
Predicatore itinerante (Peter Boom)
Played by Peter Boom
An itinerant preacher figure who appears in the travelers' journey, representing the era's religious fervor and the volatile authority of prophetic voices.
- ⛪
- 🗨️
- 📜
Where and When Is Nothing Left to Do But Cry Set?
Nothing Left to Do But Cry is set in Tuscan countryside and Imaginary Tuscan village (1492). Here is why the time and place matter to the story.
When
1492
The story unfolds in the year 1492, during the Italian Renaissance. It situates its characters amid the era’s religious fervor, political intrigue, and feuds that shaped local communities. References to Savonarola and the looming age of exploration anchor the narrative in a Europe-wide moment of upheaval and discovery?
Where
Tuscan countryside, Imaginary Tuscan village
Set in the Tuscan countryside and in an imaginary Renaissance village of 1492, the film places its action amid sunlit fields, a bustling butcher shop, and a town square steeped in religious ritual. The setting juxtaposes pastoral life with violent feuds and political tension characteristic of late 15th-century Italy. This village acts as a microcosm of Renaissance society, where everyday life collides with power struggles and superstition.
- 🏛️ Renaissance Italy
- 🌾 Rural Tuscany
What Are the Themes of Nothing Left to Do But Cry?
4 ideas the story keeps returning to, among them Reality vs Illusion, Love and Class and Violence and Feud.
-
01
Reality vs Illusion
Two friends stumble into a fantasy-like Renaissance village, forcing them to confront whether what they imagine is real. The juxtaposition of a playful domestic life with brutal violence invites reflection on the thin line between dreams and danger. The film uses this tension to explore resilience and adaptation in an unforgiving world.
-
02
Love and Class
Mario's attraction to Pia — a member of a rich family — highlights social class divides in Renaissance Italy. Saverio's grievances and plans reveal how personal relationships intersect with economic and political power. The romance offers a fragile escape from the harsh realities around them.
-
03
Violence and Feud
The murder, the village feud, and the presence of armed men in cloaks underscore a world where violence is normalized. Characters navigate loyalty, revenge, and survival as the feud escalates. The film uses medieval brutality to probe human instinct under pressure.
-
04
Religion and Authority
Religious figures and ceremonies frame the narrative, with Savonarola’s era casting a long shadow. The characters reach out to institutional power for help, exposing the limitations of religious authority in crisis. Faith and governance intersect in a society teetering between piety and brutality.
What Kind of Film Is Nothing Left to Do But Cry?
Whimsical in tone, with steady pacing and a moderate story, going by the plot summary.
- Tone
- Whimsical
- Pacing
- Steady
- Story
- Moderate
- Intensity
- Medium
- Ending
- Ambiguous
A whimsical yet contemplative buddy comedy that follows two friends lost in 1492, blending absurd humor with philosophical musings on fate, friendship, and the desire to rewrite history.
- whimsical
- contemplative
- absurd
- buddy-comedy
- dreamlike
- melancholic
- time travel
- friendship
- fate vs free will
- renaissance history
Content notes: feud violence, sudden death.
Quiz
How well do you remember Nothing Left to Do But Cry? Test yourself on the story.
