Let’s imagine that there is a new craft, and that it is called "replacing". Let’s imagine an unemployed man who would practice such craft every day. So much so, that he would actually work beyond measure, and that he would be, in his own way, a happy man. All he does is take on, for a few hours, the role of absentees who duck - for more or less serious reasons, their official occupation. He makes do with just enough, our hero, because money isn’t everything in life: one needs to keep in shape, and not letting oneself go in times of, how to say, dark crises. Let’s imagine, also, that there is a twenty years old young man (his son) who plays the sax like a God, and is therefore lucky, as he is an artist. Let’s then imagine Lucia, restless and wary, that hides a secret behind her desire to get ahead. Will they get to the next episode safe and sound?

Daniele von Arb was 16 years old in 1970 when he and his friends founded the revolutionary cell in Zurich later listed by the U.S. secret service CIA in its chart on international terrorism under the code name “Annebäbi”. Today he is a fortune-teller and future consultant. A hurtling journey through the armed struggle of the 1970s, entry into the cosmos of spirituality and finally, in 1989, a first class ticket to freedom.

Jake and Mati are two outsiders in the northerly Portuguese city of Porto who once experienced a brief connection. A mystery remains about the moments they shared, and in searching through memories, they relive the depths of a night uninhibited by the consequences of time.

Self-discovery journey of two girls in their mid twenties while they travel along the Ecuadorian mountains and coasts. Esperanza (Hope) and Tristeza (Sadness) will not find postcard views or perfect love, but their journey will teach them there’s a world beyond that.

It is New Year's Eve. 1976. On a Greek island a party of bourgeois hunters comes upon a body, buried in the snow and miraculously preserved by the cold. By his uniform, he appears to be one of the thousands of partisans killed during the civil war and the hunting party, a group of the ruling elite, must now decide what to do with the body. When they disinter it, blood begins to flow from the wounds in the partisan's body and they carry it back to the lodge where the inquest begins. The film becomes a biting commentary, an extraordinary allegory for the persistence of guilt in which Greece's post-war Right is placed symbolically on trial in a series of tableaux in which the hunters are faced with their re-created sins. Merging poetic metaphor and historic reconstruction each member of the hunting party views the body on the makeshift bier: the colonel and his wife, the businessman, the ex-prefect of police, now a publisher, the ex-partisan who is now a wealthy contractor, the politician, the film actress who collaborated with the Nazis, the royalist noblewoman - all are forced to give an account of their actions since the civil war. Finally, they dream their own execution by partisans but awake to find it was but a collective nightmare provoked by the dead body of the partisan. In the gray dawn they rebury the corpse and with it, hopefully, their own guilt.

A documentary film about Swiss musician and singer/songwriter Stephan Eicher, his Yéniche roots and the history and persecution of the Yéniche people in Switzerland and their links to Swiss music.

Rashomon is widely considered one of the greatest films ever made: Three men take shelter at one of the gates leading to Kyoto, waiting for the rain to stop. We are under the Heian era (9th - 12th centuries). To pass the time, they discuss an event that took place recently: the discovery of the body of a samurai, probably killed by the bandit Tajomaru. The three men were in fact called to testify at the trial. They each report what they said at the trial, and what they saw. Four versions are opposed, the widow - who was allegedly raped by the bandit - also having her own. So what happened?

An absorbing portrait of the 18th-century Armenian poet Sayat-Nova which is brimming with metaphors and dreams. Parajanov created a melting pot based on the Armenian and Georgian cultural traditions with their rich religious symbolism and the expressive powers of cinema, the modernist folk art of the 20th century. This classic by Parajanov is not a dramatised portrait of the poet Arutyun Sayadyan, better known as Sayat-Nova (the King of Songs’), but an associative portrait full of metaphors and dreams, arabesques and still lifes. It is a film designed like an oriental tapestry: quirky and unpredictable in line and colour, but at the same time expressive of great aesthetic harmony. The Color of Pomegranates is also a statement about the Messianic role of the artist, in this case the filmmaker Parajanov, who regarded this film as his finest.

Andrei Gortchakov, a Russian writer, travels through Italy in the footsteps of a fellow composer to write his biography. With great sensitivity for the emotions of those who are far from their country, Andrei Tarkovski, supported by his Italian co-writer Tonino Guerra, draws a meeting of cultures and periods.

Christian is the respected curator of a contemporary art museum, a divorced but devoted father of two who drives an electric car and supports good causes. His next show is “The Square”, an installation which invites passersby to altruism, reminding them of their role as responsible fellow human beings. But sometimes, it is difficult to live up to your own ideals: Christian’s foolish response to the theft of his phone drags him into shameful situations. Meanwhile, the museum's PR agency has created an unexpected campaign for ”The Square”. The response is overblown and sends Christian, as well as the museum, into an existential crisis.

In an undetermined country where desolation reigns, the Zone is a mysterious and dangerous region, where only the Stalkers, smugglers, dare to venture. One of them tries to take a writer and a scientist inside this Zone, to a room where their dearest desires can be fulfilled... After Solaris, Andreï Tarkovski returns to science fiction to illustrate a world that no longer has faith in anything. He signs a timeless masterpiece with inexhaustible potential.

Like a mosaic, the film “Our Garden of Eden” shows the everyday life in an allotment garden area that reflects the multiethnic and multicultural modern Swiss society today. People of various geographical, religious, social and political backgrounds till the earth of their respective lots here side by side, creating a microcosm full of dreams, loneliness, homesickness, joy, family tragedies, strokes of fate and conflicts. The Swiss concept of tidiness and order meets an exotic talent for improvisation, the will to integrate and respect meet ignorance. Christians and Muslims, people from nations at enmity enjoy a peaceful coexistence in the allotment gardens, sharing what seems most precious in our society today: time, attention and space. They find the path to themselves as well as a place in the eternal cycle that life is.

Daniele von Arb was 16 years old in 1970 when he and his friends founded the revolutionary cell in Zurich later listed by the U.S. secret service CIA in its chart on international terrorism under the code name “Annebäbi”. Today he is a fortune-teller and future consultant. A hurtling journey through the armed struggle of the 1970s, entry into the cosmos of spirituality and finally, in 1989, a first class ticket to freedom.

It is New Year's Eve. 1976. On a Greek island a party of bourgeois hunters comes upon a body, buried in the snow and miraculously preserved by the cold. By his uniform, he appears to be one of the thousands of partisans killed during the civil war and the hunting party, a group of the ruling elite, must now decide what to do with the body. When they disinter it, blood begins to flow from the wounds in the partisan's body and they carry it back to the lodge where the inquest begins. The film becomes a biting commentary, an extraordinary allegory for the persistence of guilt in which Greece's post-war Right is placed symbolically on trial in a series of tableaux in which the hunters are faced with their re-created sins. Merging poetic metaphor and historic reconstruction each member of the hunting party views the body on the makeshift bier: the colonel and his wife, the businessman, the ex-prefect of police, now a publisher, the ex-partisan who is now a wealthy contractor, the politician, the film actress who collaborated with the Nazis, the royalist noblewoman - all are forced to give an account of their actions since the civil war. Finally, they dream their own execution by partisans but awake to find it was but a collective nightmare provoked by the dead body of the partisan. In the gray dawn they rebury the corpse and with it, hopefully, their own guilt.

The Future Circular Collider is the machine of the future. Thanks to it, we will finally be able to go back in time to the origin of our universe. But which way do we go to set up the largest scientific instrument of all time? Between metaphysics and underground tunnels, a story of the preparations or how men are ready to move mountains for more knowledge.

The film begins with a volcanic eruption that stranded the director, Pauline Julier, in a foreign city, among strangers. In turns, these strangers evoke legends about the formation of the continents, the blooming of the tectonic plates or the explosion of ash that provoked summers without sun.

In 1976 a massive explosion at chemicals factory Icmesa in the Italian Seveso had devastating consequences for neighbouring communities and their environment. Icmesa’s parent company was Givaudan, which in turn belonged to Hoffman La Roche, based in Basel. Following the accident, Icmesa’s technical director Jorg Sambeth was charged with failing to keep adequate security measures. During his investigations into the true cause and background to the catastrophe, Sambeth stumbled upon facts that were damaging to those who were paying his lawyers. Yet he is sentenced to five years in prison. How should he take up his grievances with this conglomerate of companies?

A documentary film about Swiss musician and singer/songwriter Stephan Eicher, his Yéniche roots and the history and persecution of the Yéniche people in Switzerland and their links to Swiss music.

Amidst the preparations for her 35th wedding anniversary, Meredith is surprised by the discovery that she is HIV-positive. Only her husband André could have been the carrier of the virus.

When her mother decides to stop administering medication to her mentally challenged daughter, 18-year-old Dora awakes, as if from a deep sleep. Dora discovers her body, her sensuality and finally, sex, too. Her parents are shocked by Dora’s sudden unbridled lust for life and, when she gets involved with a man she meets at her market stall vendor job, they are furious. Seeing her relationship as unscrupulous and abusive, they demand their daughter stops seeing her lover. But their efforts are to no avail and, when Dora’s affair leads to a more serious situation, everyone has to reassess the limits of their relationship to each other, and reconsider such topics as self-determination, trust and jealousy. Courageous, necessary and sensitive – Stina Werenfels’ adaptation of Lukas Bärfuss’s stage play is a fearless and moving drama about letting go. The tender, subjective shots that capture the beauty of the world as Dora sees it are as much a part of the film’s success as is the portrait of a desperate mother, having to cope with life’s pitfalls

A film about people who have fought for more freedom and justice – and have had to pay dearly for it. The two women and two men from Tibet, Congo, Chile, and Turkey now live in Switzerland. In their native countries they were badly tortured for their human rights efforts. Nevertheless, they have not lost their belief in a better world.

The film is a study of the 20th century cult of personality - the myth, the lure and the corruption of the political hero who is a fusion of two characters. Drawing from the so-called Dilessi incident of 1870 (updated in the film to the dawn of the twentieth century), this Megalexandros is a bandit of the sort that typically plagued nineteenth century Greece. Wrapped in the spiritual cloak of yet another Megalexandros - a legendary Greek liberator and King Arthur-like figure whose tale originated in 1453 under Turkish domination and has come down through oral tradition over the centuries - he becomes a leader of mysterious charisma. He kidnaps a group of English aristocrats and takes them to a mountain village where he is attempting to establish an agrarian commune among a company of Italian anarchists. The socialist hero becomes a Stalin-like tyrant whose trademark silence only reinforces his power. The film is a true work of demythification - from the roots of myth to the false promises of the new century.

Vincent Fleury, a taxi driver who has been rejected by his wife, embarks on an adventure from which he hopes to benefit: in exchange for a sum of money which will enable him to pay child support for his son, he agrees to set out for Crete with an unknown person, Thelma, to help her find the ex-lover who had spurned her. During their trip across Switzerland, Italy and Greece, they flirt – but at the last minute Thelma always holds back. Vincent is at a loss to understand until he discovers that she is a trans woman who, in order to keep him with her has been lying from the very beginning. Torn between love and repulsion, Vincent has to make a choice.

The district of Molenbeek-Saint-Jean in Brussels has become world-famous as a center of jihadism, but for six-year-old Aatos and his friend Amine, it is a familiar home. Here, they listen to spiders, discover black holes, and fight about what is going to steer a flying carpet. Together they search for the answers to life's big questions. But the brutality of the adult world makes itself known when terrorists detonate a bomb in the neighborhood. Aaatos envies Amine's Muslim faith and looks for his own gods, although his classmate Flo questions him; she is strongly convinced that anyone who believes in God is completely nuts. Gods of Molenbeek is a wonderful portrayal of childhood friendship, inquiry and the creation of meaning in a chaotic time.

A mutual friend introduces Paul to Frédéric, who is a painter living together with Angèle, an actress who makes films in Italy. Paul wants to work as an actor and keeps his head above water with minor roles. But when he manages to land a small role in a war film, Angèle leaves Frédéric because of Roland, the film assistant working on the set with Paul. Frédéric wants a divorce from Angèle. Paul is awakened one night by a phone call: Frédéric had a fatal accident. In actual fact it was suicide: Frédéric killed himself because Angèle was taken from him.

More than 500 000 Italians live and work in Switzerland. They are considered a „problem“. An over-employed economy needs their labour – a small nation of distinct peculiarity perceives them as foreign objects. They live beyond the barrier of a different language. Discussed as a problem, they remain unknown as human beings.

The war in Congo has caused more than six million deaths over the last twenty years. The population is suffering, but the offenders stay with impunity. Many people see this conflict as one of globalisation's crucial econimic distribution battles because the country has major deposits of many high-tech raw materials. Milo Rau, one of Europe's most acclaimed theatre directors, succeeds in gathering victims, perpetrators, observes and analysts of the conflict for a unique civil tribunal in eastern Congo. The documentary film brings these spectacular court trials to life on the big screen and creates an unvarnished portrait of the largest and bloodiest economic wars in human history.

Jesmark, a Maltese fisherman, contends with a newfound leak in his wooden LUZZU boat. Barely getting by, he sees his livelihood—and a family tradition from generations before him—imperiled by diminishing harvests, a ruthless fishing industry, and a stagnating ecosystem. Desperate to provide for his wife and their newborn son, whose growth impediment requires treatment, Jesmark gradually slips into an illicit black-market fishing operation.

Two friends – Paul Girard, the “people’s mayor” of Delémont who has his sights set on a national career and Liu, a Chinese watchmaker living in the Jura – decide to organise the semi-finals of the Miss China competition in Switzerland. Paul is hoping this original, media-hyped project will help him acquire the image his party has been refusing him: that of future deputy. Liu, meanwhile, hopes to open the Chinese market to luxury watches. Instead of the heroes’ welcome they were anticipating in bringing the women to the touristic Meccas of Switzerland, the two partners are met with resistance from the political milieu and indifference from their sponsors.

The day after the night of the full moon, 12 children all 10 years of age are found to be missing in the four language regions of Switzerland. The police and the media reassuringly claim that there are plenty of leads and clues. No kidnapper comes forward to contradict them. At the end of one week, all the parents receive the exact same letter from the children, written in cryptic language. By the next full moon they must have deciphered the letter and complied with all its requirements, or else… A dramatic-ironic tale that reveals the current state of Switzerland. Switzerland as a metaphor. Or: a plea for less logic and more imagination in our world.

Pensioner Roli comes to Fareed’s assistance when the Syrian refugee is faced with the burial of his Muslim wife. Together they stumble into a bewildering forest of Swiss bureaucracy to which Roli finds a beautifully simple answer.