Business Doc Europe caught up with the production team behind The Discreet Charm of Forgery, one of the 13 projects pitched at MIA 2024’s Doc Co-Production Market & Pitching Forum.
The Greek-Italian co-production is a 5×30 investigative documentary series delving into the complex world of art forgery, where the lines between authenticity and deception blur. Ioanna Davi, from Chania-based firm Indigo View, is producing it with Claudio Esposito, of Rome- and Bari-based outfit The Piranesi Experience.
The new show features forensic researchers, art experts, investigative journalists and former forgers exploring both the ancient techniques and cutting-edge technologies used to deceive the art world. Inspired by the recent dismantling of a large forgery ring in Crete, the series raises pointed questions about the perception of artistry, worth and value at a time when distinguishing real from fake is becoming increasingly difficult.
Moreover, it delves into the methods and motivations of notorious forgers, whose stories often surpass even the most imaginative fictional scenarios, while exploring the impact of forgery throughout history. The main narrative adopts an investigative style, uncovering the true identity of disputed artworks in various contexts. The camera goes beyond the glamorous displays, offering sneak peeks into museum backrooms, restoration labs, gallery warehouses and police crime units.
The project comes at a time “when it is becoming increasingly difficult to distinguish real from fake in all aspects of our everyday life,” the team emphasises.
Dimitris Gotsis is attached to direct. “This series immerses viewers in the world of art forgery by blending investigative reporting, archival footage, interviews, and animated sequences,” says Davi. “The director is passionate about exploring the human stories behind the forgeries and unravelling the tapestry of deception surrounding counterfeit art. The main aim is to produce a thought-provoking, fast-paced, suspenseful documentary series, as seen through a range of perspectives—from museum curators to AI experts, and from police investigators to the forgers themselves—showcasing the very notion of authenticity in art.”
The five episodes are titled A Story Old As Time, The Art of Deception, Behind the Canvas, Under Scrutiny, and The Authenticity Paradox.
Key creatives include head of development Marilia Stavridou, development producer Alexia Noutsou, investigative researcher Giannis Papadopoulos, and art history consultant Alexandra Goulaki Voutira.
The project’s estimated budget is €1,060,000. Currently, no formal funding is in place, apart from the co-producers’ own investment in early development efforts.
“The team plans to apply for national cash rebates in Greece and Italy, development funding in Greece, and the pilot Eurimages Series Co-production scheme, as well as Creative Europe TV and online content support,” Davi tells BDE. “The project is in early development phase, and we are now focusing on our co-production structure and financing. Research and preparation are under way to secure partnerships and funding.”
Development and filming are expected to be finalised between February and December 2025, with delivery slated for April 2026.
When asked about potential partners the team is seeking at MIA, Davi says: “We are looking for co-production partners, broadcasters, and platforms with a main focus on France, Italy, the Netherlands, Spain, Germany, the UK, and the USA, without excluding other countries with a rich history tradition. We seek partners who can contribute to research, development, financing, and production, as well as help us achieve the project’s international distribution potential.”
“Our main goal for MIA is to secure a third co-producing country and distribution partners. We aim to embark on a creative co-production approach with researchers and experts across the consortium. The biggest challenge is securing the necessary funds to involve an international mosaic of on-camera characters and to ensure a broad distribution strategy that reaches a global audience,” she concludes.
