Almagro Revista, one of the most interesting argentine magazine, recently published an interview with the film critic Roger Koza (http://almagrorevista.com.ar/roger-koza-cine-argentino-estar-las-cinco-cinematografias-mas-creativas- del-mundo /) about his ideas on taste.

 

"One defends his aesthetic taste because it seems to be something immediate, something that emerges without previous thoughts. As if it were the sovereignty of one’s sensibility. The question is: which history does this sovereignty have? If I begin to understand that there is a story behind that and it has almost never been chosen by me, I realize that I am a mysterious prisoner of my own taste. Any subject that is willing to the intrusion of something unknown to the area of ​​certainties of the aesthetic order of the cinema, can generate a deviation, a reformulation and an expansion of its own structure of reception; that is to say an expansion of that magma that we call taste. There are times when you have to go against that. If certain movies take you out your comfort zone, that's where you have to go".

 

According to this view, taste, which seems to us the most intimate and spontaneous of our faculties, can be conditioned by a series of external influences that seek to take advantage of our choices. This idea worried many moviemakers, the Italian Pier Paolo Pasolini is a paradigmatic example who dedicated his life to the fight against the consumerism society. In the world of wine, the arrival to adulthood of the millennial generation and its instinctive “non-conformity” and the consolidation of the natural wine movement have brought the problem into our focus.

 

Why do we drink the wines we drink? Why do we take international varieties planted almost in every corner of the world and choose a corpulent style with dark color, excessive sweetness and notes of chocolate, vanilla and coffee? How much influence does local and international media have on the manipulation of taste? It is inevitable to think that there is a voluntary or unconscious connivance between these trends and the global "industry" of the wine that floods our shelves with different labels that contain identical liquids produced with techniques designed to iron out the identity.

 

Natural wine proposes a radical resistance to this situation. The minimization of the use of sulfites, the use of spontaneous fermentations, the elimination of filtrations, the absence of additives and preservatives, open new possibilities and gustatory and tactile balances, even imperfect (or perhaps "uncomfortable", as Koza would say).

Ancestral elaboration techniques explore new tastes and revitalize forgotten wine areas and varieties and show us that wine has an infinity of faces, as many small producers and traditions as the world has.

 

In Argentina, the experimentation of some intrepid winemakers opened the door to a new era of tastes more original or truly traditional, those that we should not lose. Now it is necessary that the emancipation of taste reach all consumers so that we can re-inaugurate an authentic wine culture.

For those who want to dig into these ideas, we invite you to read the latest book by Jonathan Nossiter, "Cultural Insurrection", which inversely sees in the natural wine as a mirror from where contemporary cinema could learn something about itself.