The film will tell what happens to a group of characters, precisely between July 14 and August 15, 1994 in Paris. It will tell the story of three young ladies, Louise, Ninon, Ida, in the summer of 1994, their adventures in the big city. On the streets, in the gardens, in ballrooms and in libraries and lofts, deserted at the time of holidays and summer heat, Louis, Ninon and Ida proceed on mysterious paths.
Two young gay soccer players get caught up between the politics of the game and the politics of love.
Goalie has just been released from prison after spending a year inside for keeping his mouth shut for his best buddy Ueli. He heads for his hometown of Schummertal, a small town where everyone knows you. He's going to start over, without drugs. Meanwhile, Ueli has gotten ever deeper into drugs, can't understand why Goalie suddenly wants to be a square. Although they've been friends since childhood, everything is different now. Goalie wants a new life but finds his past.
Five friends spend their holidays on a faraway island in the sea. On the last day of the holidays, out of the blue, Björn informs his friends that he will not return home but intends to stay in this paradise forever. There is no sign of life from Björn after that. His best friend Meikel is very concerned about the mysterious disappearance - but nobody cares and no one helps him in his search for the lost friend.
Nicholas is the eldest son of a wealthy suburban family, whose businesswoman mother makes deals from a helicopter and has an affair with her business partner. His cheerful, alcoholic father, on the other hand, is reduced to a prisoner in his room with his devoted dog and electric train set. Unbeknownst to his parents, Nicholas works as a window cleaner and dish washer in a Parisian cafe. He is also in love with the daughter of another cafe's owner, who, however, has an abusive boyfriend. One night, Nicholas sneaks a few drunken drifters into his family wine cellar and his father unexpectedly takes a liking to the stranger.
Returning home to his native Emmental after travelling around the world, Jürg Neuenschwander comes across peoble who are skilled in the art of healing and tend to the sick with herbs and powers even though the law of the canton of Berne still strictly prohibits the practice of healing. Healers have become very popular. Their patients come from all walks of life: nurses, distillers, alpine farmers and computer experts alike approach healers in the hope that they will relieve or even deliver them from their sufferings. Many patients with chronical illnesses view healers as the last resort after traditional doctors have failed to help them.
Ronnie lives in a small sleepy village and is the owner of a small company for deep-frozen goods. Daydreams, contact ads, the firemen's brassband, the weekly visits at his shrink and his buddy Lars' cynical remarks about air guitar and vinyl-records are the highlights of Ronnie's life. Already, as a kid, he suffered from being under the pressure of his power- and manhood-fixed mother. Ronnie's feelings are as deep-frozen as his goods. Until the day, a wonderful being - one of the female kind - strands in the village. The local priest hires the young girl, a groupie with the name of Zoya, as housekeeper and within days, Zoya turns the whole manship of the village mad and horny. Also Ronnie falls for Zoya and, well yes, lucky for once, marries her. However, since the presence of Zoya, strange things have happened in the village. Everybody who tries to search in Zoya's unkown past dies, disappears. Slowly that well-known fear sneaks into Ronnie's body: men's fear of women.
A witty, despairing French-Russian-Italian-Swiss art movie set in 16th-century Georgia, Stalinist Georgia, contemporary Georgia, and contemporary Paris, featuring the same set of actors in all four settings.
Thought-provoking and moving, “sooner or later” explores life's only inevitability, death. Jürg Neuenschwander's camera takes us into the hospital rooms, morgues and homes where life comes to pass. A young couple saying their last goodbyes to their newborn son or the teenager coming to terms with a fatal disease: the film accompanies those affected by death, and compares our western attitude to death with that in Tibetan culture. Final goodbyes from life are universally painful and difficult, and Neuenschwander's sensitive film subtly reminds us of our own mortality.
