Punch-Drunk Love

Filmmaker-sommelier Jonathan Nossiter uncorks a vintage wine-industry exposé

"Whatever the film's faults—which there are obviously many—to me they are transformed by the vitality of the camera's curious eye and its life within the frame. The camera movement in Mondovino becomes aesthetic because of human needs; the camera moves in relation to what I felt was being exchanged. Sensitive audiences generally can feel when a camera is moving for the glory of the director's ego. The movement in Mondovino is part of the vitality of the life. I see the film as ebullient, jubilatory—to me it's a film of love."

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