artfilm.ch 600 swiss films on streaming

Collection Markus Imhoof

Markus Imhoof was born on the 19.09.1941 in Winterthur, Switzerland. History of the Arts and History in Zurich, lic. phil. I. Assistant for Leopold Lindtberg in the Playhouse Zurich. Filmschool at The School for Arts and Crafts Zurich with Kurt Früh. 1970 Foundation of the Nemo Film GmbH together with Fredi M. Murer, Yves Yersin, Kurt Gloor, Alexander J. Seiler, Claude Champion, Georg Radanowicz. 1977 Foundation of the Limbo Film AG together with his school friend George Reinhard. Lives in Berlin, Milano and Switzerland.

The only thing that remains at the end are memories based on love.

ESCAPE RISK shows the story of the 23-year old Bruno Kuhn who comes to prison because of a dumb crime that he stumbles into. ESCAPE RISK was filmed to be a hyper-realistic film in seemingly unedited shots in documentary style. It is based on exact studies of the prison environment.

Markus Imhoof - Erinnerungen, die auf Liebe aufbauen

Lisa Brühlmann, winner of the Swiss Film Award 2018, has been nominated for the Emmy Awards for her episode of KILLING EVE. Congratulations!

BLUE MY MIND by Lisa Brühlmann

15-year-old Mia faces an overwhelming transformation which puts her entire existence into question. Her body is changing radically, and despite desperate attempts to halt the process, she is soon forced to accept that nature is far more powerful than her. Swiss Film Award 2018: Best Fiction Film.
BLUE MY MIND

The four trilogies of Clemens Klopfenstein

Collection April 10th to July 24th

Clemens Klopfenstein, the "dinosaur of Swiss cinema", was already one of them in Solothurn Film Festival's first edition. He shot everything he could get his hands on: first 8mm, then Super8, later 16mm, Super16, 35mm and then Video8, Video Hi8, Analog then Digital, now hard disk. Has lived for forty years in Umbria as a painter, draughtsman, and produces films with Franciscan family budgets. The painter Balz, who sits jealously in Italy and harasses Clara, the actress, by telephone because of a lover. Balz wishes the rival all bad - and promptly he falls unhappily on his nose. When he succeeds in closing his mouth with a simple and very understandable wish, as required by his girlfriend, who has meanwhile arrived with him and is constantly babbling, the Italian driver realises that it is a brandy that helps his evil desires to come true. But she also discovers a magic potion that gives her the strength to transform things, day in night for example. She takes pleasure in taking advantage of it when Balz is at the wheel. Some part of me feels an enormous gratitude for movies that I don’t fully understand. The compulsive legibility of commercial movies — designed to be synopsized in three or four sentences, promoted in one or two catchphrases, represented in a short trailer, consumed in a single gulp. People are fond of comparing movies to dreams, but when was the last time you had a dream that could be synopsized as effortlessly as a Hollywood movie? Jonathan Rosenbaum, Chicago Reader. 1989 The realistic interpretations that the film offers to explain the event are not important. What is more decisive is the fact that Klopfenstein has confirmed in ever new approaches that a community to which people come together for whatever reason cannot do without power structures. A thoughtful, highly thought-provoking film. Hans-Dieter Seidel, FAZ It's a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what ermerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The whole thing is underscored by a beautiful ‘composed' soundtrack, from quietly humming stretlamps to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction. Chris Auty TRANSES uses the camera to describe the exhilarating feeling of driving away. Long, seemingly endless shots from a car and later from trains, into a landscape far away from constricting civilization, exert a liberating fascination on the viewer. Pictures and sounds from Berlin, Tokyo and Hong Kong, as well as light and shadow studies of my room in Berlin are mixed and dazzled and, supported by westernized Chinese music, evoke the feeling of homesickness and wanderlust, of longing, of somewhere and nowhere. Clemens Klopfenstein directs this oblique, strikingly-shot film about actors in groups of two and three on their way to the Goethe Institute in Rome. Throughout the film, actors recite lines from Chekov, Gorky, Shaw, and Shakespeare against scenes of stunning natural beauty. Jonathan Crow We tried for a moment, a night, to reproduce our surroundings, to let the people we met in the pub represent themselves. To capture hopes and desires in the picture, because it is more possible in film than in everyday life. We let Max express our doubts and insecurities or even our inability to do so. Ten years later, as a reporter for a private radio station, Max is looking for a lucky competition winner of one kilo of gold and ten kilos of chocolate. In the hustle and bustle of the 700th anniversary celebrations of the Swiss Confederation and the 800th anniversary of the Canton of Berne, he meets a girl to whom he can proudly introduce his friend and rock star Polo. Two Swiss live in my bosom (alas!), Polo and Max. They are friends, ageing alter-egos, who have taken to roaming the world, talking an talking. They talk about what it means to be a man, and to be Swiss, which indeed is risky an will continue to be so. A “cinéma-copain” film, shot with a minimum of luggage, which moves from a Swiss pass down to Italy, then on to Egypt, and from the Nile Delta to the desert of Aswan. Philosophizing with film: this is how one could characterize Clemens Klopfenstein's DIE VOGELPREDIGT, whereby 'philosophizing' is to be understood in a very broad sense. Reflecting and brooding are as much a part of it as are tomfoolery and everyday conversation as a form of thinking out loud, which can result in some realization or another – or not. The medium of film is thereby not merely an instrument of documentation, but at the same time also a means of stimulation and itself in turn the object of often ironically broken reflection and examination. Thomas Allenbach

Die vier Trilogien des Clemens Klopfenstein

Peter Mettler - Make the invisible visible

GENESIS 2.0 by Christian Frei

Though it is a slow burn, the doc is rewarding for the incredible, historic events captured within. A discovery of a whole wooly mammoth is just the beginning; footage that comes later of these genome farms, and a normalization of the cloning process is truly incredible, if not eerie. To bring things back to “Jurassic Park,” one of the scientists even talks about “perfecting God,” as if he were quoting Spielberg’s film. Nick Allen, rogerebert.com
GENESIS 2.0

Joel Basman in DAWN by Romed Wyder

Four comrades in arms attempt to influence the young Elisha, to make him overcome his conflicts of conscience and fully commit to their cause. In the context of the Israeli-Palestinian conflict DAWN sheds a new light on a key moment in history that allows for the resituating of the current political disputes. The film is a frightening and lucid journey into the mind of Elisha (Joel Basman), a young Zionist terrorist who is consumed by doubt and haunted by the ghosts of an ever-present past.
Amos Lassen
DAWN

Swiss Film Award

F-Rated

F-Rated

Swiss films in your pocket - Artfilm Player für iPad and iPhone now on App Store

Artfilm releases immediately the Artfilm Player App for iPad an iPhone. The app makes it easier to view films on the iPad and allows to donload films on the device to view them later without network. The app is available on the App Store Switzerland and free. You need an artfilm.pass subscription to use it.

Since 2009 Artfilm proposes finest swiss films online. The catalogue is constantly increasing and there are now over 600 films from arthouse directors like Ursula Meier, Petra Volpe, Stina Werenfels, Patricia Plattner, Jacqueline Veuve, Peter Liechti, Daniel Schmid, Fernand Melgar, Hans-Ulrich Schlumpf and others. Flat rate artfilm.pass subscriptions are available for 5 CHF / day, 12 CHF / month or 80 CHF / year. Viewing via streaming on the website is straightforward, but there are moments one would like to view films on the road, in the holidays. The new app makes it possible.

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