Wilder Urlaub

After the death of his parents, Beat Matter grows up with the Escher family. Their son Dominik is his best friend. As a young man, Beat enlists for two years of service with the Papal Swiss Guard in Rome. Shortly before starting his service, he meets Dominik's fiancée Jacqueline at an Alpine festival. He falls in love, even though he knows that Jacqueline is already promised to someone else.

Gottfried and Sophie Kummer live freely and independently with their six boys in a modest cottage in the countryside. Although the cottage has neither electricity nor running water and must be heated with wood, the small wages of a construction worker are not enough to meet all their obligations. Especially since the former owner, Mayor Lüthi, still has a mortgage on the cottage, on which the Kummer family must pay interest. And this interest makes life difficult for the Kummer family. Then a stranger appears who would like to buy the cottage as a vacation home. But for the Kummers, it is their home! Mayor Lüthi, however, senses a big deal, promises the stranger the house, and at the same time gives the Kummer family a final payment deadline for the interest until the end of the month. So it is the six Kummer boys who take up the fight to save their cottage.

Der 10. Mai (The Tenth of May) was the date in 1940 that Hitler invaded the Low Countries: Belgium, Holland and Luxembourg. Neutral Switzerland, which hadn't experienced a war since the 14th century, hurriedly fortified its borders with battalions of inexperienced soldiers. The panic, confusion and isolated acts of courage which occurred on that fateful day are re-created in this Swiss docudrama. The story is "personalized" by concentrating on a fugitive German soldier (Heinz Reincke) who falls in love with the Swiss girl (Linda Geiser) who shelters him. Produced on a bare-minimum budget, Der 10. Mai is impressive more for its sincerity and raw energy than for its actual cinematic merits.

The farmer Christen, his wife Änneli, their sons Resli and Christeli, and their daughter Annelisi live together harmoniously on the Liebiwyl farm. The harmony is disrupted when Christen allows himself to be persuaded by the deceitful village clerk to speculate with his ward's money. As a result, all the money is lost, and the defrauded farmer has to pay the community for the damage out of his own pocket. This angers Änneli, whose great willingness to help is thwarted by Christen, who is becoming increasingly stingy. One harsh word leads to another, and soon the couple is facing a shambles. The children also suffer from the unfriendly atmosphere at home. Only a visit to church on Pentecost and the corresponding sermon make reconciliation possible.

In Bern above Junkerngasse 54 the caretaker has died - the old Hutzli. On the day on which he was buried, it's started again, this howling in the middle of the night - scary. Since then, no one dares to live there.

Gilberte Montavon was a legend in her own lifetime. As a young woman, she was confidante to hundreds of thousands of Swiss-German speaking soldiers during the First World War, and remembered most of their names. She was still a teenager when the war began, and was immortalised by a song written during the war years by the Swiss-German bard and lute player, Hans Inn der Gand.

The farmers of a village decide to postpone the construction of a new school in profit of a concentration to cheese production. From a novel by Jeremias Gotthelf.

Heidi lives with Alp-Öhi n the Swiss Alps in the summer, where she helps Peter tend the goats. In winter, she stays in the village and attends school. One day, a letter arrives from Heidi's German friend, Klara Sesemann, announcing her visit. Klara indeed appears the next summer along with her grandmother and the prim governess Miss Rottenmeyer. Klara is quickly convinced to stay with Heidi, but Peter becomes resentful that Heidi now spends so little time with him...

The film traces Uli's progress from his humble peasant surroundings to the homes of the wealthy and prominent. The characterizations are convincing, and the comic interludes surprisingly subtle and believable for a Swiss film. The no-star cast doomed Uli Der Knecht from the start so far as American distribution was concerned. It was another matter in Switzerland, where the film was one of the year's top moneymakers. Uli der Knecht was based on a novel by Jeremias Gottbelf.

The trials of the wealthy Emmentaler farming family Jowäger, adapted from the 19th century novel of the same name by Jeremias Gotthelf (pen-name of Albert Bitzius), which was also published in two parts.

The titular Marie-Louise is a young French lass who is evacuated to Switzerland when her country is overrun by the Nazis. Suffering a nervous breakdown, she is given comfort and shelter by a wealthy family. Unfortunately, living in the lap of luxury makes Marie-Louise hesitant to return home to her mother and war torn home. Eventually the girl comes to her senses, but it isn't easy.

Uli has been the tenant of the "Glunggen-farm" for two years. His wife Vreneli gave him two children and the couple is happy. But this year, the harvest looks bad and his landlord calls in the rent, as the old man urgently needs money to satisfy the demands of his son and stepson. Desperate to make ends meet, Uli fraudulently sells a cow knowing that she does not produce any milk. He is pursued in court but is acquitted. But then, the buyer curses him... and disaster promptly strikes.

The further trials of the wealthy Emmentaler farming family Jowäger and their neighbors, adapted from the second volume of the 19th century novel by Jeremias Gotthelf (pen-name of Albert Bitzius).

In exploring sex offenses, particularly against children, this film reveals the inner workings of the Zurich police and INTERPOL as they pursue persons accused of voyeurism, rape, fetishism, sadism, and masochism. After the criminals are arrested and given psychological tests, they may be sentenced to an institution or undergo brain surgery (with their consent) in order to be rehabilitated.