Fredi M. Murer

  • Fredi M. Murer – Balance (1965)

    Fredi M. Murer1961-1970ArthouseShort FilmSwitzerland

    A young man is balancing on a rope. A young woman with a pistol appers. In the middle of war noise, they won’t to bury him, when he suddenly awakes… A very early short from Murer and a key study for his later (and phantastic!!!) film “Pazifik – oder die Zufriedenen”. It’s a poetic aproach, which mixes up passion, love and fear of war.Read More »

  • Fredi M. Murer – Grauzone (1979)

    1971-1980DramaFredi M. MurerSwitzerland

    After his remarkable documentary about mountain farmers, We Who Dwell in the Mountains Cannot Be Blamed for Being There (1974), Zurich-born filmmaker Fredi M. Murer came down to the city to film the gray suburbs and their anguished inhabitants embedded in what he called a “fictional documentary” written in collaboration with a number of scriptwriters (including writer Adolf Muschg). Set in a black and white world with an air of the fantastic, the story revolves around a young couple confronted with a mysterious epidemic the government is trying to cover up. A portrait of an urban Switzerland utterly disconnected from its roots, Grauzone (1979) is one of the most powerful works about the Swiss society of control that prefigures the social movements that had their heyday in Zurich in 1980 (“Züri Brännt”).Read More »

  • Fredi M. Murer – Höhenfeuer aka Alpine Fire (1985)

    1981-1990DramaFredi M. MurerSwitzerland


    Alpine Fire is as heady and intoxicating as the thin mountain air of the Alps in which it takes place. The entire film is set far above the rest of the world, and the isolated location influences both the characters and the film style.

    The exact location is a lonely home pitched on the side of a mountain. Communication with neighbors is done with signs and binoculars; other people may be miles away, on the slope of the next Alp. The time is the present, but the home has no television or telephone, and it seems remote in many ways.

    In this house live the elderly parents (Rolf Illig, Dorothea Moritz) and their two children: a daughter, Belli (Johanna Lier) and a son (Thomas Nock) called simply the boy.

    The boy is deaf, temperamental and stunted in his learning. The early part of the film details his struggle with the world, and his fascination with ways of seeing; he uses mirrors, binoculars and various looking glasses to examine the silence around him. He becomes enraged when he spots his sister moving to the sounds of a transistor radio, which he immediately finds and destroys.Read More »

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