Boris: The Film


Boris: The Film is a 2011 Italian comedy film directed by Giacomo Ciarrapico, Mattia Torre and Luca Vendruscolo. The film serves as a continuation of the third season of the television series Boris and features most of the original cast. The plot follows René Ferretti and his crew as they navigate their first experience with a film production.
The film earned Carolina Crescentini both a Nastro d'Argento and a Ciak d'Oro for Best Supporting Actress.

Plot

René Ferretti, disillusioned by the poor quality of the TV drama Il giovane Ratzinger, abandons the production after yet another creative imposition from the network. He withdraws from the industry, falling into depression. Months later, his friend Sergio, recovering from a heart attack, acquires the rights to the political bestseller La casta. Together, they see an opportunity to break into serious cinema with a socially engaged film.
Initially supportive, network executive Lopez appears to greenlight the project. However, early compromises force René to abandon the investigative intent, opting instead for a metaphorical narrative. Despite this, the film attracts top-tier collaborators, including acclaimed actress Marilita Loy. René parts ways with his old TV crew, retaining only Alessandro and Arianna.
Production quickly deteriorates: the set becomes hostile, René is dismissed by professionals as a second-rate director, and he is eventually forced to rehire his old team. Amid setbacks—including actor Stanis's disruptive presence and Marilita's instability—René perseveres. Things improve briefly with the casting of rising star Francesco Campo, but his sudden death from a heroin overdose halts filming.
René and Sergio learn that Lopez never had official network approval. Sergio suffers another heart attack. Pressured, Lopez convinces the network to repackage the footage as a Christmas comedy. The network agrees. René capitulates, turning his art film into the commercial Natale con la casta, filled with crude humor and gratuitous sexual content. The film is a commercial success, but René is repulsed. Disillusioned with the film industry, he returns to television and resumes filming Il giovane Ratzinger, now fully resigned to its mediocrity.