Film
The Price of Nonna's Inheritance
A nimble Italian comedy about a family scrambling to protect their grandmother from a smooth-talking con artist eyeing her fortune. It's light, propulsive, and built on the kind of generational chaos that feels lived-in rather than constructed. Sweet-natured and funny without ever getting mean.
Should you watch it?
Watch it if you like light Italian farce where a family's scheming escalates through bickering set pieces and a sly, affectionate look at money and manners.
Skip it if your patience for broad caricature is limited, since the humour leans on exaggerated types and the plotting prefers contrivance to wit.
What it asks of you: It runs about ninety minutes and keeps a brisk, easy pace, asking you to follow a crowded family's schemes lightly, with little need for sustained attention.
Not sure? Find tonight's pick in a minute.
If you liked this
The Dinner Game1998
A Parisian dinner party descends into escalating absurdity when a con artist crashes the evening. Like *Nonna's Inheritance*, it finds comedy in the collision between careful plans and human unpredictability, building to genuine warmth.
But French comedies can feel airless and overstuffed with cleverness. This one risks feeling dated in its specific Parisian milieu.

In Good Company2004
Family money, generational friction, and a scheme that depends on nobody telling the truth. It has the same DNA as this film—the comedy of familial desperation—but aims for genuine emotion beneath the scheming.
But The American setting and mid-2000s sensibility may feel distant from the Italian warmth here.

Gomorrah2008
A darker Naples-set crime story about family business and loyalty. Same Italian setting and cast who understand how family obligation creates the actual story—but this film means it.
But It's bleak and violent. If you want *Nonna's Inheritance* for the laughs, this will feel punishing.

Not sure tonight? Get a pick in a minute, starting from The Price of Nonna's Inheritance
The wildcard
Something you would not have found on your own.
A Prophet2009
Both films use family and loyalty as the engine of human behavior in corrupt systems. But *A Prophet* asks what the cost actually is, with no comedy to soften it.
A young man learns to navigate and survive a system built entirely on corruption and loyalty inside a French prison. It has the same Italian-Franco crime sensibility and the same question: how do you protect yourself when everyone has leverage over you?
But It's a serious, violent prison drama. The scope is epic and the tone is grave—nothing light about watching someone's education in survival.

More like this (8)
The Family2013
Robert De Niro plays a retired mobster in witness protection; Luc Besson orchestrates the chaos of family life colliding with criminal past. Fast, funny, and built on the same premise: you can't escape your people.
But The tone veers wildly between sentiment and violence. It's sometimes uncertain what it wants to be.

Kiss Kiss Bang Bang2005
A con artist thriller wrapped in screwball comedy, narrated by Robert Downey Jr., set in Los Angeles. It understands that schemes fall apart because of personality, not just circumstance.
But The needle-drops and hip cynicism can feel affected. Not everyone finds the self-aware tone charming.

Matilda1996
A con artist film about family con artists where everyone is sharp and nobody is quite honest. The pleasure is in watching smart people out-think each other, with real affection underneath.
But Danny DeVito's direction can be overstated. Some scenes feel more winking than funny.

The Wolf of Wall Street2013
A man with no moral anchor surrounded by family and colleagues who want a piece. It's much longer and much wilder than *Nonna's Inheritance*, but the machinery of how schemes work is identical.
But Three and a half hours of excess and depravity. It's not about the con—it's about the addiction to conning.

Fading Gigolo2013
Woody Allen and John Turturro as an older man and his unlikely partner launching a scheme in Brooklyn. It has the same quiet pleasure in watching people improvise under pressure, with an earned emotional core.
But The premise involves sex work and can feel more thoughtful than the situation warrants. Allen's presence divides audiences.

Four Rooms1995
A bellhop and a night manager navigate increasingly absurd guest requests in a single night. It shares the escalating-scheme DNA and the chaotic-ensemble energy, though with less heart.
But The framing device wears thin fast. Too many jokes land as sketches rather than moments within a story.

The Godfather Part II1974
Both are about family trying to protect assets and bloodlines. But where *Nonna's Inheritance* finds it funny, Coppola finds it tragic and inevitable.
Coppola splits a story between young Vito building the family business and Michael trying to protect it. It asks what you sacrifice to protect what you love, and whether protection becomes its own kind of corruption.
But It's three hours and a masterpiece—which means it's heavy, demanding, and the opposite of a casual watch.

Gigi1958
The plot is almost identical—a chaperone watching a suitor, a family with financial stakes in a relationship. But Gigi transforms it into Technicolor romance and songs, proving the same skeleton works in utterly different registers.
An older man, a younger woman, and her family all scheming about what that relationship should be. It's a musical, yes—but underneath is the same machinery: how family uses each other, how love and money tangle, how the plan never survives contact with actual feeling.
But It's a 1959 French musical about courtship rituals that feel ancient. If you think musicals are automatically dated, this one confirms it loudly.

People
Cast
Christian De SicaCarlo Delle Fave
Angela FinocchiaroAnna Delle Fave
Claudio ColicaEmilio Delle Fave
Dharma Mangia WoodsAlessandra Delle Fave
Darko PerićBojan
Antonino BruschettaNunzio Zampa
Fioretta MariGiuliana
Irma Carolina Di MontePatricia
Fernando AlbizuLuis
Teresa PiergentiliMarzia

Directing
- Giovanni BognettiDirector
- Luca FedericoFirst Assistant Director
- Laura BiagiottiScript Supervisor
Writing
- Giovanni BognettiWriter
Production
- Giulia AppolloniCasting
- Valeria MirandaCasting
- Alexandra LeclèreExecutive Producer
- Gaia AntiforaExecutive Producer
- Olivier KahnExecutive Producer
- Pier Paolo LucianiExecutive Producer
- Antonio TacchiaLine Producer
- Attila MancarellaLine Producer
- Alfredo ColangeliLocation Manager
- Francesco ColicignoLocation Manager
- Alessandro UsaiProducer
- Iginio StraffiProducer
- Manuela AssennatoProduction Coordinator
- Michele PrianoProduction Manager
- Monica ScagliottiUnit Manager