In a world full of lying politicians, conspiracy theorists and people telling you your dress is cute when even you know it’s not, the truth can be refreshing. And sometimes to avoid hurt feelings, a lie must be told.

Try living in a world where there is no such thing as a lie, where you ask a question and know for certain the answer will be completely honest and truthful, regardless of its repercussions.

“The Invention of Lying,” written and directed by Ricky Gervais and newcomer Matthew Robinson, takes place in such a world. If someone’s having a bad day, they tell you, sometimes in excruciating detail. Building on a brilliant idea, Gervais, backed by a standout cast, displays a mastery of both comedy and tragedy and laughs and tears that more than make up for occasional dull moments.

Mark Bellison (Gervais) is a miserable bloke. He writes screenplays, which, in a world that has no word for “lie,” are based on strictly historical events. He’s fat, bland, has a “snub nose” and has very little going for him in life. When he gets lucky and gets a date with Anna, a delightfully oblivious knockout played by Jennifer Garner, she immediately informs Mark that she is not attracted to him and not looking forward to the rest of their date.

The constant honesty is both witty and dark, with as many laughs due to pity as to uproariously funny jokes. Sometimes it’s hard to see Mark’s ego constantly being checked, but Gervais’ sense of timing shines through by never letting anything get too serious, following up every bone- exposing gash of frankness with a heartfelt laugh, relieving the heavy tension.

Anna eventually denies Mark a second date, saying that, even though she enjoyed herself with him, she’s just not attracted to him. Bellison then gets fired, causing him to be short on funds for rent. He goes to his bank to withdraw the $300 he has left. When he has a moment of clarity, Bellison lies and tells the banker he actually has $800 left in his account, just enough for the rent. Since no one lies, the teller believes him and hands over the money.

Bellison is amazed, and immediately goes to a bar to tell his two friends, played by Louis C.K. and Phillip Seymour Hoffman (who shows he can do more than somber and is quite funny), what has just happened — only they don’t believe him. Mark says he’s black, and they are in awe of how light-skinned he is. It is then that Bellison has the revelation of what advantages he now is in possession of, being the only person capable of lying in a world full of honest people.

Here, the movie shines with spot-on jokes and ridiculous situations that come off brilliantly.

The film is lucky that it was written by a man with such a knack for comedy and is built on such an original idea, or else the movie and its typical plot would have been forgettable. There are enough laughs to ignore some elongated scenes and the cliché nature of the love story between Mark and Anna.

Gervais should be recognized for his deep understanding of human emotion. Only a skilled filmmaker can make the audience go from cringing to crying to being moved by sincere romantic moments all in one film without it coming off as artificial.

The movie takes some surprising turns, spending a great deal of time comparing Bellison’s character to Jesus, while having enough touching moments to almost be considered a romantic comedy. Its first three-quarters are thoroughly entertaining, but in the last quarter, the comedy is sacrificed to evolve the romantic plot.

What makes this film stand out is the elaborate setting the plot revolves around along with the masterfully chosen cast.

It’s fascinating to see how daily life would be if there was no such thing as a lie. The people who make up the inhabitants are a joy to watch, with Tina Fey, Edward Norton, Martin Starr, Christopher Guest, Jonah Hill, Jason Bateman and Jeffrey Tambour, among others, all making appearances.

The strong cast does a great job of backing up Gervais’ keen sense of comedy, making this a memorable, highly amusing film.