Maud is an architect and a mother. Due to a misunderstanding, she wins the competition to refurbish the parvis of Notre-Dame. Torn between these responsibilities and love issues, she will go through an emotional storm.
Seventeen-year-old Mathieu Reymond lies brutally battered and raped in a field of reeds. It is only after his release from hospital that the memories come back, unannounced and fragmentary, but still so precise that regular meetings with two police officers not only allow the perpetrator’s identikit image to take shape, but also the chronology of the crime itself.
After his mother’s death, Zucchini is befriended by a kind police officer, Raymond, who accompanies him to his new foster home filled with other orphans his age. There, with the help of his newfound friends, Zucchini eventually learns to trust and love as he searches for a new family of his own.
David Miller wants to die and chooses assisted euthanasia. He planned everything: the place, the time and the manner. However, nothing goes right. With Esperanza, member of the association, and Tréplev, young prostitute, David embarks on his ultimate night with total strangers.
Two young men are playing in a bathtub. Then a third and fourth slip in to join them. They are called Émile and they are looking for their “perfect mother” when a fifth man arrives, the Émile who reconciles them all.
Claude Goretta directed “L'invitation” in 1973. For filmmaker Lionel Baier, born in 1975, it is like a “travelling companion”, to adapt Serge Daney’s expression. He feels it is definitive proof that a Swiss can be deeply Chekhovian. The young filmmaker goes to Geneva to ask his elder how he achieved the whoosh of water effect in the film, why attention to detail matters so much, and how to film great actors such as François Simon. This encounter with Claude Goretta – but also with Isabelle Huppert, Nathalie Baye, Michel Robin and Frédérique Meininger – leads one of the greatest of Swiss filmmakers to open up about his work.
Since he is 9 years old, David Miller has known the date of the day he dies. As it nears, he meets those he cares about for the last time, obsessed by the idea of learning how to tie a tie and by the the fall into water of the Quebecker filmmaker Claude Jutra. Shot with a cellphone over a decade, from Lausanne to Ouagadougou, Low Cost (Claude Jutra) is a small fiction about the market value of a human life in a time when everything is discounted. Life is priceless, death, however, negotiates…
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