Jonathan Nossiter
The year is 2085 and no human babies have been born in over a decade. A group of disparate survivors respond to a call to meet in Athens, where the film’s narrator Jo, a boy of African descent, aims to make the world’s last film.
Ten years after Mondovino, his analysis of the increasingly standardised wine production in France, wine expert Jonathan Nossiter picks up the thread again and shows what it means to be rooted in the soil you're working on. During walks through the vineyards and relaxed gatherings with a group of alternative Italian wine growers, he trades experiences and arguments. What looks like a bucolic paradise, where intelligent people produce wine according to time-honoured and organic methods, is actually revealed to be a battleground. The DOC association, which is supposed to look after the interest of independent vintners, promotes winemakers who produce vast amounts in a standardised quality; and the agricultural industry with its hygiene regulations excludes traditional methods of production. The only thing saving the landscape from being totally destroyed is affluent foreigners using the old vineyards as summer holiday homes.
A group of strangers from different countries end up on Rio's beaches. Seeking self-fulfillment, they look for answers to existential questions. Yet it isn't until their different paths cross that they begin to understand why they came.
Mondovino (in Italian: World of Wine) is a 2004 documentary film on the impact of globalization on the world's different wine regions written and directed by American film maker Jonathan Nossiter. It was nominated for the Palme d'Or at the 2004 Cannes Film Festival and a César Award. The film explores the impact of globalization on the various wine-producing regions, and the influence of critics like Robert Parker and consultants like Michel Rolland in defining an international style. It pits the ambitions of large, multinational wine producers, in particular Robert Mondavi, against the small, single estate wineries who have traditionally boasted wines with individual character driven by their terroir.
Under the influence of signs and premonitions, a man allows himself to veer in and out of a love affair with his colleague.
This is a portrait of Lorenzo, a Florentine artist who has been repeating the creation of the same work of art for more than twenty years: a pliant and pointed blue-yellow-red acrylic "thread."
This film concerns two mysterious characters who meet on a Sunday in Queens. Madeleine the most unsettling creature of that name since "Vertigo" is a middle-aged, moderately successful actress. Oliver/Matthew is either a homeless man or a famous film director or both. Madeleine hails him on the street as the latter, launching a bizarre chain of events that includes a conversation in a diner, a very unromantic sexual encounter, the arrival of Madeleine's odd husband and unsuspecting daughter, and a child's birthday party. The film also compassionately tracks the daily rounds of Oliver/Matthew's fellow denizens of the homeless shelter, some of whom will be recognizable to New York audiences.
At age 73, writer and melancholy master of the bon mot, Quentin Crisp (1908-1999), became an Englishman in New York. Rossiter's camera follows Crisp about the streets of Manhattan, where Crisp seems very much at home, wearing eye shadow, appearing on a makeshift stage, making and repeating wry observations, talking to John Hurt (who played Crisp in the autobiographical TV movie, "The Naked Civil Servant"), and dining with friends. Others who know Crisp comment on him, on his life as an openly gay man with an effeminate manner, and on his place in the history of gays' social struggle. The portrait that emerges is of one wit and of suffering.
