Something You Said Last Night

Something You Said Last Night

Ren, who is in her mid-twenties, goes on holiday with her Italian-Canadian parents and her younger sister Siena. Her family doesn’t know that she recently lost her job. Ren tries to find her way around the beach resort, which is geared towards retirees, and to escape her parents’ loving but overprotective ways, while her sister keeps the family on their toes with her rebellious outbursts. Knowing that Ren will be even more dependent on her parents’ support after the holidays, the resort house feels more and more confining.

In this refreshingly cliché-free film, writer-director Luis De Filippis tells of vibrant family dynamics and explores a Millennial’s conflicted desire to be independent yet cared for. While the film perfectly captures the tenor of a summer holiday where sunshine, watered-down booze, boredom and awkwardness are standard, there is an underlying sense of the slight unease that afflicts Ren as a trans woman in a conservative resort. Beyond melodramatic stereotypes, De Filippis and her team show us a world that authentically represents the trans experience.

Invisible Frontliners

Invisible Frontliners

There are jobs without which society would not function. Who are those caretakers, the people who keep everyday life going, who keep the homes clean, provide food, and make it possible for the rest of us to live and work comfortably even during a pandemic?

In Switzerland, there is a basic lack of social recognition for these frontliners. Before, many of them were largely invisible. That has changed. Society today is aware of the value of their work. But what has really changed? And how do these hard workers feel about the attention they suddenly got? Why do they stay in their jobs and what would they change?
The film gives a voice to those that usually remain silent and invisible: a single mother, a young nurse, a sales manager and mother of three, a politically active child care worker and a Portuguese immigrant working as restaurant manager. In a very fine and silent way, harsh realities are addressed and the big topics of these frontliners become close and clear.

Solothurner Filmtage

It Is Not Over Yet

It Is Not Over Yet

At the small retirement home Dagmarsminde, the founding nurse May Bjerre Eiby has no interest in specific dementia diagnoses or medicine, since neither is improving the quality of life for the 11 residents. Instead, May and her staff have developed a new kind of treatment inspired by the methods that Florence Nightingale introduced 150 years ago. The goal is to inspire a complete change in the way people with dementia are treated in the healthcare system, shifting from medicine to care.

Le film de mon père

Le film de mon père

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Der Filmemacher Jules Guarneri wuchs in Villars zwischen seinen Adoptivgeschwistern in einem Chalet auf, welches regelmässig vom Geist seiner Mutter heimgesucht wird. Sie starb, als er 20 Jahre alt war. Sein Vater, Oberhaupt und Wächter der Familienchalets, übergibt sein filmisches Vermächtnis an den Sohn, mit dem Auftrag, er solle daraus seinen ersten Film realisieren. Jules beschliesst, dies als Gelegenheit zu nutzen, um sich vom Vater abzunabeln. So beginnt eine verzwickte, innige und bisweilen auch vergnügte Reise in die Unabhängigkeit.

Je Suis Noires

Je Suis Noires

In Switzerland, a country of neutrality, new, unfamiliar voices are being heard. Voices of women who fight for the recognition of structural racism, deconstruct stereotypes and confess their double identity as Swiss and Black. It is in this context that Rachel M’Bon begins her own search for identity. On her way to liberation, she questions her past, her present and holds up a mirror to her country and her peers.

The strength and determination with which Rachel M’Bon confronts her past is the strength of this film, which represents an important step towards opening up a discourse that has been suppressed for too long. Together with filmmaker Juliana Fanjul, the Swiss-Congolese journalist interrogates her country and portrays six protagonists. Each of them tells a story that reflects her own personal path to liberation.

We show the film in combination with the short film ETHEREALITY by Kantarama Gahigiri.
Stranded in space for 30 years. How does it feel to finally come home? A reflection on migration and the sense of belonging.

Kantarama Gahigiri is a Rwandan-Swiss filmmaker. In 2004 she won the prestigious Fullbright Award and moved to New York where she completed her Masters in Film. Her first feature film TAPIS ROUGE was screened and awarded worldwide.

Mediterranean Fever

Mediterranean Fever

Waleed (40) lives in Haifa with his wife and children and dreams of a writing career while suffering from chronic depression. He develops a close relationship with his neighbor (a small-time crook) with an ulterior plot in mind. While the scheme turns into an unexpected friendship between the two men, it leads them into a journey of dark encounters.

A E I O U – A Quick Alphabet of Love

A E I O U – A Quick Alphabet of Love

She thought it would never happen to her again.
He didn’t even know such a thing existed.
A woman, a boy and another impossible love story.

Anna (Sophie Rois) is 60, lives alone in West Berlin and has left her career as a celebrated acting star long behind her. Adrian (Milan Herms) is 17 years old and has stolen Anna’s handbag on the open street. Normally, two such different people would probably not meet a second time, but fate has other plans. Anna, who apart from her neighbour Michel (Udo Kier) has virtually no social contacts, is persuaded to become a voice coach and give lessons to a young man with a speech impediment. And as chances would have it, her new student is none other than Adrian.

In AEIOU, Nicolette Krebitz designs a relationship that not only surprises with a lot of tenderness and a wild, poetic hand stroke, but also turns both characters into individuals of integrity, self-empowered with each other, learning. Neither feels guilt, neither feels shame, both feel love and yet remain completely with themselves, lonely together, but not in the discouragement usually inherent in that phrase. On the contrary, it is a wild, unpredictable courage that stands above everything and leads the character development. Axel Timo Purr, Artechock

Becoming Giulia

Becoming Giulia

Giulia Tonelli, principal dancer at the Zurich Opera House, returns from maternity leave. She has to fight to find her place and a new balance, between the competitive and extremely demanding world of an elite ballet company and her new family life. The documentary is an unprecedented immersion in the microcosm of a great opera house from 2019-2021, an intimate and committed look at the journey of a woman who reclaims her own body and herself to be back on stage.

Tom Medina

Tom Medina

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Ein Western ohne Waffen

Tom Medina wird von einem Jugendrichter in die Camargue zu Ulysses geschickt, einem Mann mit einem grossen Herzen, der mit der Natur im Einklang steht. Von Stieren und Pferden fasziniert und von Visionen geleitet, lernt Tom an der Seite von Ulysses den Beruf des Naturwächters. Er stiehlt nicht mehr, ist wissensdurstig und sehnt sich danach, ein anderer Mensch zu werden. Aufgebracht über die unveränderte Feindseligkeit, die ihm entgegenschlägt, kämpft er um sein Schicksal und kreuzt dabei den Weg der Aktivistin Suzanne.

TOM MEDINA ist ein Spielfilm, der sich an Tony Gatlifs Leben vor seiner Zeit als Filmemacher orientiert, als er über das Meer nach Frankreich kam. Gatlif verwebt seine Biografie mit Metaphern, verlegt die Geschichte in die Gegenwart und schildert mit grossem Einfühlungsvermögen, wie Tom trotz seiner Heimatlosigkeit nie die Würde und Kraft für sein Leben verliert. Der in der mystischen Landschaft der Camargue angesiedelte Film lebt von Naturbildern, einer intensiven Tonebene und viel Musik. Und die Zuschauer:innen werden mit einem poetischen Ende entlassen, welches eine Wohltat für das Herz ist.

Tony Gatlif wurde 1948 im damals zu Frankreich gehörenden Algerien geboren. Sein Vater war Kabyle, seine Mutter Romni. Beide Kulturen beeinflussten ihn stark und inspirierten ihn zu einem Grossteil seiner Filme. Anfang der 1960er Jahre verliess Gatlif Algerien und wanderte nach Frankreich aus. Über die Schauspielerei und das Theater gelangte Gatlif schliesslich zum Film und legte mit LA RAGE AU POING sein erstes Drehbuch vor. 1975 drehte er LA TETE EN RUINE, sein Erstlingswerk als Regisseur. Mit LES PRINCES (1983), LATCHO DROM (1993) und GADJO DILO (1997) schuf Tony Gatlif eine Trilogie, die als ein seltenes Beispiel für die Selbstrepräsentation von Roma im Film viel Anerkennung erntete. Mit seinem Film EXILS gewann er bei den Internationalen Filmfestspielen von Cannes 2004 den Regiepreis.

Indes Galantes

Indes Galantes

Can a new generation of artists conquer the Bastille today? For the very first time, 30 dancers reinvent Rameau’s baroque masterpiece “Les Indes Galantes”. None of them has a classical training, they are all masters of krump, break, popping and voguing. It is a premiere for director Clément Cogitore and choreographer Bintou Dembélé. And it’s a premiere for the Paris Opera itself, bringing urban dance and lyrical song together in a lively, colourful dialogue. From rehearsals to the premiere, we follow the dancing adventure and its challenges.

INDES GALANTES is a vibrant film, artistic, human and politically gripping. The film tells the collective dimension of this inspiring project, while the camera gives the individual protagonists space to express their feelings and shows how they put their heart and soul into this work. In INDES GALANTES we can see how they overcome the barriers between these different worlds. And we learn through them how we can all admire each other.