Pierre Brochant, a Parisian publisher, attends a weekly "idiots' dinner", where guests, who are modish, prominent Parisian businessmen, must bring along an "idiot" who the other guests can ridicule. At the end of the dinner, the evening's "champion idiot" is selected.
Dans les années 1970, Henry Church est cuisinier à domicile. Il va se retrouver pendant six mois au chevet d'une jeune femme et de sa mère, atteinte d'un cancer.
Ilona Koponen (Kati Outinen), a head waitress at Dubrovnik restaurant, is married to Lauri (Kari Väänänen), a tram driver. The couple live in a small, modestly furnished apartment in Helsinki. As they both come home from work late one night, Lauri surprises Ilona with a new television which he purchased on store credit. There is a short discussion between the two regarding their ability to meet their financial obligations but they agree that the TV payments are manageable.
Le documentaire fournit des images sur le fonctionnement des plus grandes industries agroalimentaires européennes que ce soit dans le domaine de la production des fruits et légumes que dans celle de la viande. Ni musique ni commentaire ne viennent accompagner les séquences filmées. Le décor est constitué de champs, d'usines, d'abattoirs, et le réalisateur utilise de longs plans fixes y compris pour filmer les ouvriers en train de manger.
Baker Bob is bludgeoned to death with his own rolling pin by an unseen assailant while baking a cake; he is the latest of twelve bakers to be killed. Meanwhile, Wallace (Peter Sallis) and Gromit are running a "Dough to Door" delivery service from their bakery "Top Bun". On one such delivery, the duo save Piella Bakewell (Sally Lindsay), a former pin-up girl mascot for the Bake-O-Lite bread company, and her miniature poodle, Fluffles, when the brakes on her bike appear to fail. They drive alongside so Wallace can attempt to use pastries to stop, but they careen into a zoo and barely escape being eaten by a crocodile. Gromit tests the bicycle brakes and becomes suspicious on learning that the brakes work perfectly fine, but Wallace becomes smitten with Piella.
English gangster Albert Spica has taken over the high-class Le Hollandais Restaurant, run by French chef Richard Boarst. Spica makes nightly appearances at the restaurant with his retinue of thugs. His oafish behavior causes frequent confrontations with the staff and his own customers, whose patronage he loses, but whose money he seems not to miss.
In a dilapidated apartment building in post-apocalyptic France, food is in short supply and grain is used as currency. On the ground floor is a butcher's shop, run by the landlord, Clapet (Jean-Claude Dreyfus), who posts job opportunities in the Hard Times paper as means to lure victims to the building, whom he murders and butchers as a cheap source of meat to sell to his tenants.
Tottington Hall's annual Giant Vegetable Competition is approaching. The winner of the competition will win the coveted Golden Carrot Award. All are eager to protect their vegetables from damage and thievery by rabbits until the contest, and Wallace and Gromit are cashing in by running a vegetable security and humane pest control business, "Anti-Pesto".
Fanis Iakovides, professor of astronomy and astrophysics, recalls his childhood memories from growing up in Istanbul. When Fanis was 7 years old, his grandfather Vassilis was an owner of a general store with a specialty in spices. He was also a culinary philosopher and his mentor. Fanis grew very attached to his grandfather who would assist with his homework using imaginative techniques. For instance, Vassilis would teach his grandson the planets of the Solar System by showing an illustration of it and replacing the planets with spices. Cinnamon took the place of Venus since according to Vassilis, "like all women, cinnamon is both bitter and sweet". Fanis also fell in love for the first time in his grandfather store's upper floor with a young Turkish girl, Saime.
Monsieur Dufour (André Gabriello), a shop-owner from Paris, takes his family for a day of relaxation in the country. When they stop for lunch at the roadside restaurant of Poulain (Jean Renoir), two young men there, Henri (Georges D'Arnoux) and Rodolphe (Jacques B. Brunius), take an interest in Dufour's daughter Henriette (Sylvia Bataille) and wife Madame Dufour (Jane Marken). They scheme to get the two women off alone with them. They offer to row them along the river in their skiffs, while they divert Dufour and his shop assistant and future son-in-law, Anatole (Paul Temps), by lending them some fishing poles. Though Rodolphe had arranged beforehand to take Henriette, Henri maneuvers it so that she gets into his skiff. Rodolphe then good-naturedly settles for Madame Dufour.
Pierre a stuffy, self-righteous volunteer at a telephone helpline for depressed people and his well-meaning but naïve co-worker Thérèse, are stuck with the Christmas Eve shift in the Paris office, much to their displeasure.
The peacefulness of a village is shattered when the wife of the local baker runs off with a handsome shepherd. In his despair, the baker becomes heartbroken and no longer bakes bread. The villages organize forces to bring the wife back to her husband, and back to their daily bread.
Avec We Feed the World, le documentariste Erwin Wagenhofer propose aux spectateurs un regard sur l'agriculture mondiale moderne. En passant par la Roumanie, l'Autriche, le Brésil, la France et l'Espagne, son enquête se focalise sur la manière dont est fabriqué ce qui arrive dans notre assiette. Il montre que la domination du Nord sur le Sud est prégnante. Comment est-il possible qu'en Afrique l'on achète des produits européens ou asiatiques comme le poulet thaïlandais ? Le réalisateur présente une face peu connue de la mondialisation : en achetant un poulet industriel, on contribue au défrichement de l'Amazonie car le Brésil déforeste pour cultiver le soja qui sert à nourrir les volailles élevées en batterie (90 % de la production de soja du Brésil est exportée). Le documentaire souligne également la différence entre industrie agroalimentaire et petite exploitation. We Feed the World adopte un style « coup de poing » visant à éveiller les consciences.