A quick chat about the optical effect of the transition itself...
This is a small detail that I think could add to the elegance of the concept.
The most obvious way to approach this transition is with a hard cut, simply matching the geometry of the label once we land on our final position in the American world, then snap-cutting to our Italian world. The bottle doesn't move, but that "pop" of a transition bypasses the changes in lighting, condensation, and background in a single cut... I think we could embrace those changes instead.
What I'd like to propose is something that feels like a live transition— almost like a crossfade.
While the bottle stays in exactly the same place, we begin to recognize the change in setting through the way it affects it. Gorgeous light slides across the bottle in a new way. The edges of our background morph as we transition into our Italian world. In the moment, the viewer recognizes something is happening, but it's so soft and out of focus that it creates this painterly, swirling bokeh effect, until we've pulled out far enough on the dolly for the full reveal of our Italian location.
While a quick cut will always be an option—something we can shoot and rely on no matter what—I think it's worth exploring what it means to create this magical realism transition.
I've included a reference to a dynamic lighting transition I created on a previous project, where we brought a subject from night to day in a single shot simply by moving lights.
We could do something similar here...