Alain Klarer

Robert Young brings his Marcus Welby alter ego to television for one last time. Having retired, the good doctor takes a trip to Europe alone and falls in love with an American divorcee who is caring for a blind dancer.

Thirteen Swiss filmmakers, each from their own point of view, chronicle and reconstruct the narrative of Swiss cinema, from its beginning to the present day, and in doing so, retrace the history of the country.

Everyday life in a house where death is omnipresent, but in which, in contrast to a retirement home, mainly younger people live. Bailey House is a former hotel where 44 AIDS patients live. A refuge for a fraction of people suffering from AIDS in the city of New York, where they find shelter, supervised by a competent team. Fellow sufferers, perhaps even friends in the face of a disease that is stigmatized by society and means social isolation for most of those affected. People of different social backgrounds meet here. However, the largest proportion is made up of young black formerly drug addicts. Bailey House, the last stop in their young life, is often even the first real home, in most cases also the most beautiful place where they have lived so far.

Everyday life in a house where death is omnipresent, but in which, in contrast to a retirement home, mainly younger people live. Bailey House is a former hotel where 44 AIDS patients live. A refuge for a fraction of people suffering from AIDS in the city of New York, where they find shelter, supervised by a competent team. Fellow sufferers, perhaps even friends in the face of a disease that is stigmatized by society and means social isolation for most of those affected. People of different social backgrounds meet here. However, the largest proportion is made up of young black formerly drug addicts. Bailey House, the last stop in their young life, is often even the first real home, in most cases also the most beautiful place where they have lived so far.

Madness and anarchism in Alain Klarer's L'Air du crime are too often self-oppressed, having forgotten to live free in their minds. Elena's "terrorism" and Robert's gratuitous quest are all irrational acts perhaps, but ultimately free, a form of rebirth. Yet, some will not be able to bear this madness, chained like Stutz to a coherent structure. Thus, the film moves towards lyricism. First through Peer Raben's music, then through Hugues Ryffel's images. A play on color and light, contrasting a cold, gray, metallic frame and lighting on the rational side, and a sublime, extraordinary blue towards Lake Lucerne, on the side of night, dreams, imagination, suicide, and freedom. Even if the simple narrative sometimes takes over from the madness of the film, it remains a very rich first work, a vast fresco of symbols and ideas.