Showreel Groundbreaking films from Swiss cinema Culture ... Print comment Open popup to share Share: share on twitter share on facebook send by e-mail more... See in other languages: 8 See in other languages: 8 Languages: 8 (ar) "تجربة سولوتورن".. قطعة من تاريخ السينما السويسرية (de) Solothurn: Ein Stück Schweizer Filmgeschichte (es) Un pedazo de historia del cine suizo (fr) Les Journées de Soleure: une tranche de l’histoire du cinéma suisse (it) Esperienza Soletta: Un pezzo di storia del cinema svizzero (pt) Solothurn: Uma parte da história do cinema suíço (ru) «Новое швейцарское кино» вчера и сегодня (zh) 经典影片呈现瑞士电影史 "Siamo Italiani", by Alexander J. Seiler, June Kovach and Rob Gnant, 1964Considered a pioneer of new Swiss cinema, this documentary was shown at the first Solothurn Film Festival in 1966. Its cinéma vérité style – hand-held camera, direct sound and natural lighting – give a voice to the Italian seasonal workers who are portrayed. It was the first time that the figure of the 'foreigner' appeared on the big screen.(Photos: Solothurner Filmtage) ‘Charles mort ou vif’ (Charles, dead or alive), by Alain Tanner, 1969Shown at the international critics’ week at Cannes, this was the first feature film by Alain Tanner, and it was the first time that new Swiss cinema got international attention. “Charles mort ou vif” is a film in the spirit of the late 1960s that launched the genre of politically shaped Swiss auteur cinema. ‘Schatten der Engel’ by Daniel Schmid, 1976Scandal in Solothurn: Director Daniel Schmid, screenwriter Rainer Werner Fassbinder and actress Ingrid Caven show up three hours late for a press conference. Swiss film critics trash the flick – based on a Fassbinder piece about a prostitute – as too aesthetic and not political enough. Schmid swears to never return to Solothurn. In Germany, both the film and the play are deemed antisemitic – and banned. ‘Die Erschiessung des Landesverräters Ernst S.’ (The Shooting of Traitor Ernst S.) by Richard Dindo and Niklaus Meienberg, 1976Based on a text from Meienberg, interviews and historical material, this documentary by Richard Dindo is the first film to tackle the controversial role of Switzerland during the Second World War. The film caused an uproar; the government accused the director of manipulation and withdrew an award he had been promised. ‘Il valore della donna è il suo silenzio’ (A woman’s best trait is her silence) by Gertrud Pinkus, 1979One of the few women in new Swiss cinema, Gertrud Pinkus gives women a voice. The protagonist in this film, the southern Italian immigrant Maria M., is seen as the symbol of a whole generation. It was meant to be a documentary, but none of the women wanted to show their faces for fear of being judged by their families. ‘Züri brännt’ (Zurich is burning) by Kollektiv Videoladen, 1980The film is a central work of the counterculture and the riots that shook Zurich in the 1980s. However, it is also known as a symbol of the era seen in the film, as an instrument of political and social denunciation and as a rebellion against policy. Despite numerous protests, “Zuri brännt” was shown at the Solothurn Film Festival, and the situation escalated. ‘E nachtlang Füürland’ by Clemens Klopfenstein and Remo Legnazzi, 1982This journalist’s story was filmed partly in the studios of Swiss Radio International, now swissinfo.ch. During the youth riots in Bern, a Swiss radio presenter hit the streets looking for meaning and the pursuit of happiness. The film marked the beginning of the collaboration between Swiss German-speaking directors and public television, which had often been referred to as the archenemy of auteur cinema. ‘Matlosa’ by Villi Hermann, 1981Alienation and the search for identity are the central themes of Swiss cinema. This film by Ticino director and producer Villi Hermann is an example of this. Hailing from a mountain village, family father Alfredo works for a company in Bellinzona. He follows the trail of his childhood and his roots. For the first time, Switzerland’s Italian-speaking public television supported a film. ’Ex Voto’ by Erich Langjahr, 1987Erich Langjahr’s documentary work exemplifies a new type of homeland film that contrasts the more idyllic versions from the 1950s. Filmed over a period of seven years, the film shows the poverty of mountain farmers in central Switzerland, natural threats and the conflict between the landscape and economy. ‘Babylon 2’ by Samir, 1993Novel in form and in theme, this was the first documentary made by a "Secondo" (second-generation, born in Switzerland to immigrants). It was also the first digitally cut documentary. In front of an autobiographical background, Samir explores the boundaries of video technology: split screens, animations, overlays of images and text give the film a youthful playfulness. ‘Well done’ by Thomas Imbach, 1994Over a period of several months, Thomas Imbach and Jürg Hassler followed the employees of a large computer science company which kept the Swiss financial centre going. The film shows the post-industrial society of Switzerland and the impact of new technologies on everyday life. Innovative in form and content, the film was a hit at the Solothurn Film Festival. ‘Journal de Rivesaltes 1941-1942’ by Jacqueline Veuve, 1997Jacqueline Veuve’s ethnographic documentation establishes a long-standing Swiss documentary tradition of telling the stories of ordinary people. In this film, the French-speaking director covers a dark chapter in world history: the deportation of thousands of Jews from the southern French internment camp Rivesaltes to Auschwitz. ‘On dirait le sud’ by Vincent Pluss, 2001Filmed in a single weekend, with a small budget and lots of enthusiasm, "On dirait le sud" showcases the philosophy of a new generation of filmmakers, including Ursula Meier and Micha Lewinsky. Their credo? Back to basics, to creative energy. The key to success? Improvisation. To the surprise of many people, the film won the Swiss Film Prize in 2003. ‘Verflixt verliebt’ (Why we try) by Peter Luisi, 2004Even today, the public support of the film industry, especially the younger generation, is always a topic of discussion. In this film, Luisi makes a theme out of the low budget and the lack of resources, and uses his scarce resources creatively and consistently. He won the Max Ophüls Prize in Saarbrücken This content was published on January 22, 2015 11:00 AMJan 22, 2015 - 11:00 The films that made Swiss cinematic history.