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At the heart of the film is the partner selection institute Duogena, which—very progressive for its time—not only works with computers but also uses video technology: as a visual calling card, a video portrait is recorded of each client in the Duogena studio. The task of 40-year-old bachelor Felix Stamm as a Duogena employee is to grapple with the catalogued heart's desires and to coach clients so that they present their quirks and idiosyncrasies, their concerns and wishes to the camera in as positive a light as possible.
On February 4, 1936, Wilhelm Gustloff, leader of the NSDAP, was shot dead in Davos. His assassin, 27-year-old David Frankfurter, wanted to use the action to highlight the persecution of the Jews. This docudrama describes with great precision the events leading up to the fateful day and the trial that followed. The film was selected as the Swiss entry for the Best Foreign Language Film at the 48th Academy Awards, but was not nominated.
This romantic drama follows two policemen whose job is to investigate the lives of foreigners who have applied for Swiss citizenship. Among the applicants they must screen are a French psychiatrist and his wife, and a ballet dancer. The married couple are quickly accepted, but the dancer's life offers some objections. However, since the younger policeman has fallen in love with her, there is a chance that she, too, will win Swiss citizenship.
Train driver Leo Mangold has been living alone in his two-room apartment for years. His colleague Adrian Hauser is married and having an affair with Thai go-go dancer Apia. To ensure that she does not lose her residence permit, Adrian asks his friend Leo to marry Apia, and Leo agrees. To deceive the immigration authorities, Apia has to move in with Leo, much to his displeasure. They begin to fall in love with each other. Adrian is not happy about this. Nightclub owner Willi also puts pressure on the couple because he wants to place Apia in a massage parlor.
Gertrud (89) has only one thing in mind when she smiles at the man online, even though she has no memory of doing so: to determine the final stages of her life herself before winding up in the dementia ward. But neither her end-of-life therapist or her family nor her suitor can be coaxed into honouring her request.
When Ursula B. came into the world deaf and blind in 1951, her mother abandoned her immediately after giving birth. The doctors in Zurich did not expect her to live long. But despite such prognoses, Ursula is now a 60 year old woman, cared for with a great deal of affection for five decades by Anita U., her foster mother. Where does Ursula get her strength to live? And where does Anita get the energy for her relationship with Ursula? in stirring images, the director brings a story to the screen in which human love is ultimately the only link to Ursula's elsewhere, to her enigmatic universe without sight or sound.
Christina is in her mid-twenties and in a sensual and playful relationship with her boyfriend Joel. Though it irritates her when Joel takes erotic photos of her during sex, she gladly submits to it, for him. After all, they’re not teenagers anymore. Christina eventually starts to question her trust in Joel when she sees him tipsily showing a photo on his phone to their mutual friend Tanner. Christina’s doubts alone suffice to put the couple’s relationship to the test.
Nora is a young housewife and mother, living in a quaint little village with her husband and their two sons. The Swiss countryside is untouched by the major social upheavals the movement of 1968 has brought about. Nora’s life is not affected either; she is a quiet person who is liked by everybody – until she starts to publicly fight for women’s suffrage, which the men are due to vote on in a ballot on February 7, 1971.
Fitness training, diet, extreme sports: Toni Faller fights the hamster wheel of everyday life and the mid-life crisis. His wife Marianne and daughter Daniela watch the changes with mistrust. They soon feel like they do not know him anymore, while Toni gets more and more confident. It's only a matter of time before it pops.
Gerda’s date with her neighbor does not go as planned when her mother – a narcissistic but humorous grande dame of the theater – shows up at the door. During dinner, both the accusations and the theatrical eccentricity of the visitor escalate to frenzied heights.