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Mondovino (in Italian: World of Wine) is a 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.
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.
Under the influence of signs and premonitions, a man allows himself to veer in and out of a love affair with his colleague.
Epic in scope, this globe-trotting saga covers not only the entire gamut of wine making, but wine's place in a treacherously globalized world. From the billionaire power brokers of Napa Valley, to the aristocratic rivalries of competing Florentine dynasties, to the efforts of three generations of a Burgundian family fighting to preserve their few acres of land, MONDOVINO: THE SERIES brings to life the human drama (and comedy) of wine making. Shot over several years and in five different languages, the series features intimate encounters with the wine world's most iconic and controversial figures, including the critic Robert Parker, legendary wine mogul Robert Mondavi, zany art collector Jan Schrem, and the noble proprietor of the mythical RomanTe Conti vineyard.
Two twenty-something boys in a public restroom. They sniff coke, talk about sex, get dirty. But the film takes on another tone as they reveal what it is that they really want.
At age 73, writer and melancholy master of the bon mot, Quentin Crisp (1908-1999), became an Englishman in New York. Nossiter'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.
Mistaking a homeless man for a famous director, a British actress seeks career help from him.
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."