Filippo Nanni was born in Rome in 1958. He graduated in Law and has been a professional journalist since 1988. He worked for twenty years on television (2002-2022), serving as deputy director of Rainews24 until January 2022, before returning as deputy director at Giornale Radio Rai. He covered major events as a correspondent both in Italy and abroad. Trials (Pacciani, Chiatti, Stevanin), investigations (mafia, red brigades, kidnappings), natural disasters (earthquakes, eruption of Etna), the G8 in Genoa, military missions, and major sporting events: 6 Giro d’Italia, 3 Tour de France, Northern Classics, Cycling World Championships, Football World Cups in South Korea and Japan (2002), Football World Cup in Germany (2006), and Winter Olympics in Turin (2006). He has been with Rai since 1991, working at Giornale Radio, at TG3 (News Editor), at Rai3 (author of programs including Ballarò). For the radio reports produced during the Pacciani trial, he won the 1995 Cronista Prize organized by UNCI (National Union of Italian Journalists).
He wrote: The dawn of Bugno, Five seconds from the start, Surviving the G8, The lifesaver article, Clear facts, The monster in fragments. His latest literary work The pendant of Alice published by Vallecchi. The novel follows a retired journalist who decides to investigate the mysterious death of Alice, a young reporter found dead in her home. The case was closed too quickly, but he is not satisfied with the official versions and begins a search among memories, silences, and a small pendant that might conceal more truth than an entire editorial team.
“Alice’s Pendant” by Filippo Nanni seems to be a novel that goes beyond the investigative thriller, touching on deeper chords related to memory, truth, and human fragility. The protagonist, a retired journalist, refuses to accept the official versions and embarks on an investigation that also becomes a personal journey, a reflection on what remains when the echo of a story fades away. The theme of journalism that still seeks to preserve an ethics, the importance of seemingly insignificant details, and that subtle connection between those who seek the truth and those who can no longer tell it: it is a powerful premise.
The case was closed too quickly, but he is not satisfied with the official versions and begins a search among memories, silences, and a small pendant that may conceal more truth than an entire editorial team. It is a reflection on the very essence of journalism, on the importance of details and the necessity to continue seeking the truth, even when everything seems already decided. The protagonist, an old-fashioned journalist, sees in that small forgotten object not only a possible key to the mystery but also a symbol of a profession that once meant investigating, digging deep, and not stopping at appearances.
The idea of a pendant is a signal of how often it is the silent details that tell the most important stories. This book seems to have the heart of a detective noir but the depth of a novel that speaks of memory, loss, and the necessity of not allowing truths to be archived too quickly. The central question of the novel is powerful and universal: what remains of a life when the news fades away? It is the dilemma of those who tell stories, but also of those who live them, often forgotten when the interest dies down. Filippo Nanni, with his precise and sensitive prose, seems to construct a narrative that is both an investigation and an existential reflection. His protagonist is not only seeking answers about Alice but is also trying to understand the meaning of a profession, of an existence that moves between the duty of truth and the voids left by events.
The novel traverses time, intertwining past and present, and tackles profound themes such as loneliness, remorse, and the weight of unspoken things. Teresa, a colleague of Alice, finds herself in front of an intercom with the initials ‘A.M.’, in an abandoned Roman suburb. The silence that follows her attempt to make contact amplifies the sense of desolation and mystery, paving the way for an investigation that is not only journalistic but also existential.
The novel seems to build an intense atmosphere, where every detail – even the most seemingly insignificant – can hide a larger truth. The automatic watering system that interrupts the silence, the scorching heat that envelops everything, the deserted road: it seems like the prelude to a revelation or a crucial moment in the narrative. “Alice’s Pendant” creates an atmosphere filled with unease, where even a simple intercom with two initials can become a symbol of unanswered questions. Teresa, with her stubborn gesture, conveys all the tension of someone seeking a truth, but finds only silence. It’s fascinating to see how the novel uses these details to amplify the sense of loneliness and abandonment, transforming ordinary places into spaces filled with meaning.
The pendant becomes a powerful symbol: a seemingly irrelevant detail that encompasses more truths than many written words. And here emerges the theme of the unspoken, of everything that escapes official versions and routine articles. The novel seems to pose a fundamental question: can journalism still be a profession of authentic research, or is it doomed to superficial storytelling? It appears to be a work that combines noir with social reflection, featuring a protagonist who knows that the truth is never simple.
The investigation is not only about a mysterious death, but also about an existence that risks fading away in time and indifference. The novel manages to highlight how the search for truth is also a search for meaning, for connection, for something that resists silence.
It is fascinating to see how a small gesture like pressing a intercom becomes the catalyst for deeper questions. Filippo Nanni’s novel unfolds like an investigation that goes beyond mere reporting, digging into forgotten truths and the silences surrounding Alice’s death. The protagonist follows clues that lead him to reconsider not only the case, but also the meaning of his profession and memory itself. A fundamental question: can journalism still be a profession of authentic research, or is it doomed to superficial storytelling? It seems like a work that combines noir with social reflection, featuring a protagonist who knows that the truth is never simple.