Swiss Films From ‘young’ Industry (Press, 12 December 1985)

Swiss cinematographer and director Hans Liechti recently visited Christchurch to promote the festival of Swiss films currently screening at the Academy. During his visit, he highlighted the parallels between the Swiss and New Zealand film industries, noting that both are relatively young. Liechti pointed out that Swiss cinema experienced a stagnation after the 1960s until a resurgence in the mid-1970s, driven by a new generation of filmmakers who operated with limited experience and financial resources, as there were no film schools at that time. liechti expressed that the film industry in Switzerland is still not fully developed, primarily existing for commercials and short films rather than feature-length projects. Liechti himself is a prominent figure in Swiss cinema, having begun his career as a photographer and later working with Swiss Television. Since 1969, he has been a freelance cameraman and helped establish the GATTO film group. He also mentioned his collaboration with renowned director Jean-Luc Godard on the short film "Lettre à Freddy Buache," which was featured in the festival. Liechti's directorial debut, “Akropolis Now,” was screened earlier in the festival, created on a tight budget where he wore multiple hats, including writer, director, and actor, with editorial assistance from his wife, Fee. He explained that filmmakers in Switzerland must often raise their own funds and assume various roles in production due to the lack of infrastructure and support. While some government funding is available, much of it comes from private sources or television. Notably, Liechti commented on the trend of Swiss filmmakers collaborating internationally, particularly with France and Germany, to share resources and expertise. Despite the growth in co-productions, Liechti noted that Swiss films are seen more as cultural artefacts rather than commercial ventures, with most funding relying on the prospect of returns on investments. He also mentioned that the primary audience for cinemas in Switzerland is between the ages of 16 and 25, yet reaching this demographic is challenging due to limited advertising budgets. Additionally, the multilingual nature of Switzerland complicates the distribution of films, as many require expensive dubbing and synchronisation for international viewing. The festival showcases a range of Swiss films. Highlights include "The Whole Life," a psychological drama; “Sibylla's Kiss," which explores the relationship between an actress and a painter using metaphysical elements; “The School of Hard Knocks,” a documentary about a family's life in Alaska; “The Killer From Florida,” which adopts a documentary style to tell a fictional story of a hitman; and “Hohenfeuer,” a narrative about childhood and familial love on a remote mountain farm. These screenings exemplify the diversity and depth of contemporary Swiss cinema, as discussed by Liechti.

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