Jonathan Nossiter

An English edition of the book, entitled Liquid Memory and translated by Nossiter, was published by Atlantic Books in 2010.

His book Taste & Power: The wine world wars, (French: Le Goût et le Pouvoir), was published in 2007 by Editions Grasset in France, drawing varied reactions from the wine community, including Robert M. Parker, Jr who accused Nossiter of stupidity and bigotry.

It was during the filming that Nossiter met Quentin Crisp, who later became the star of his first feature film, Resident Alien, a hybrid fiction-documentary also starring John Hurt and Holly Woodlawn. Theatrically released in 1991, after premieres at the Berlin and Toronto Film Festivals, Resident Alien, which he wrote, produced and directed, is a comic portrait of the last, tattered days of New York’s bohemian underground. It was rereleased in 2005 on DVD in the US in an edition with a later, twinned film Losing The Thread, a comedy about art world follies and the triumph of tourism in Florence, Italy. His second feature film Sunday (1997), which he produced with Alix Madigan, co-wrote with James Lasdun and directed, won the Sundance Film Festival's Grand Jury Prize for Best Film and Waldo Salt award for Best Screenplay and the Deauville Film Festival's Grand Prize for Best Film and their International Critics' Prize, as well as earning a selection in Un Certain Regard in Cannes. Starring David Suchet, Sunday is a dark romantic comedy about the travails of an unemployed IBM employee among the homeless in Queens and his fairy tale one day love affair with an ageing actress.

Jonathan Nossiter (born 1961) is an American filmmaker.

Nossiter was born to a Jewish family in the United States in 1961, the son of Washington Post and New York Times foreign correspondent Bernard Nossiter. He was raised in France, England, Italy, Greece and India. He studied painting at the Beaux Arts in Paris and at the San Francisco Art Institute, as well as Ancient Greek at Dartmouth College (Phi Beta Kappa, Senior Fellow.) After work as an assistant director in the theatre in England (The Newcastle Playhouse, King's Head), he went to New York where he landed a job moving office furniture for the film Fatal Attraction, which led to a position as assistant to the director Adrian Lyne for the length of the shoot.