Swiss Cinema's English Awakening: A Cultural Bridge or a Creative Compromise?

When German Meets English: The Swiss Cinema Revolution

Some of the main breakouts of Swiss cinema in 2026—and the few years that precede it—share one striking commonality: they are either entirely in English or feature large chunks of English. Think Petra Volpe's Locarno-winning Frank & Louis, Damien Hauser's festival darling Memory of Princess Mumbi, Denis Rabaglia's buzzy Butterfly Stroke and, of course, Tim Fehlbaum's lauded historical thriller September 5. It's a linguistic metamorphosis that's as surprising as it is inevitable.

The Venice Production Bridge: A Stage for Change

On the date that names his award-winning film, Fehlbaum joined Quiet Land director Ursula Meier and Erosion helmer Michael Koch at the Venice Production Bridge—where Switzerland is a country of focus—to discuss this very phenomenon in a panel titled: Beyond Borders: English as the New Language in Swiss Cinema? Moderated by Variety Italy and Middle East Correspondent/Rome Bureau Chief Nick Vivarelli, the discussion honed in on the benefits and challenges of shooting in English in Switzerland today.

The English language, compared to German, [has] three times as many words. In scriptwriting, you always want [scripts] to be short. In English, it's cool that you can use just one word when in German you'd have to write a whole sentence. For subtext, English is better.

— Tim Fehlbaum (@TimFehlbaum) September 5, 2026

Fehlbaum's Berlin Vision: A New Chapter

Fehlbaum revealed that his next project will take place in Berlin and be shot in both German and English. “It's set in Germany, and it's historical, but it also has an American perspective on it. It's always a question of how much will be in German and how much will be in English. By changing one character to a person who doesn't understand German, you suddenly have much more English, and it's much easier to finance.”

Meier's Montanese Journey: The U.S. Lens

Meier relayed her current experience producing Quiet Land, which is part of this year's Venice Gap-Financing Market. The English-language film will star Bill Murray and Léa Seydoux, with a story set in Montana but shot in Alberta. The director is currently in pre-production, with plans to shoot next year. “For me, it's interesting for my work to tell a bigger story, and everything in the U.S. is bigger,” she said when asked about the reasons for shooting in English.

Koch's Swiss-Specific Challenge: A New Breed of Collaboration

Koch recently had the experience of working with a major American actor himself, having just shot Erosion with lead Peter Sarsgaard. The drama will reunite the director with the non-professional actors of A Piece of Sky for a film observing the dynamics between a foreigner and the local Swiss farmers in a small mountain village. It was Fehlbaum who made the bridge between Koch and Sarsgaard, following their collaboration in September 5.

It's a bit more [money] you have to get, but it's also easier. It went quite fast, I have to say. It was also possible because [Sarsgaard] really wanted to [make the film], otherwise, we couldn't afford it.

— Michael Koch (@MichaelKoch) September 5, 2026

The Language of Opportunity: A Cultural Bridge or a Creative Compromise?

For Fehlbaum, the decision to film in English is not arbitrary. “It has to come from the story,” he said. He recalled being told by producers he needed to make his feature debut, Hell, in English, as it was a post-apocalyptic sci-fi. “It was before Netflix, and people told me I couldn't get it financed.” The director felt the choice didn't make sense for the film, and trusted his gut. The results proved his choice correct, with the film doing very well domestically and internationally.

But for Koch, the decision to cast a major American actor was not just about financing—it was a creative decision. “It was, in a sense, the concept of the film, also,” he emphasized. “Unlike my previous film, which was shot with only non-professionals and chose a very specific mountain world from the inside, I wanted this time to turn it around and look with the eyes of a stranger to this world.”

Swiss Identity in a Global Context

What strikes me most is how these Swiss filmmakers are navigating their national identity through an international lens. Switzerland, a country already built on the idea of multiple languages—German, French, Italian, and Romansh as its official languages—is now adding English to its cultural toolkit.

The question isn't just about language—it's about storytelling. As Fehlbaum notes, English offers a much wider vocabulary to writers, especially those who are German-speaking. “The English language, compared to German, [has] three times as many words,” he said. “In scriptwriting, you always want [scripts] to be short. In English, it's cool that you can use just one word when in German you'd have to write a whole sentence. For subtext, English is better. In German, [words are] very specific.”

Authenticity vs. Accessibility: A Delicate Balance

This evolution raises a crucial question: how do we maintain authenticity while embracing accessibility? Fehlbaum's experience with AI translation and his preference for seasoned linguists highlight the importance of human touch in cross-cultural storytelling.

“We first wrote [the script] in German and it was clear that we would get a translator on board. He not only translated [the script] but had a different perspective and made it much more American. It's important to get authenticity,” he explained.

The Challenges of Communication

But let's be honest—this linguistic shift isn't without its challenges. All three directors brought up the difficulties of having to communicate in their second language with actors when under the overbearing pressures of being on set. “I realized the language barrier is much bigger than I would've thought,” said Fehlbaum.

Yet Koch offered a counterpoint: “There's also a nice thing about that. Because then [actors] are really challenged to think about: what does he mean? So they start to participate in this process also.”

Conclusion: A New Chapter for Swiss Cinema

Swiss cinema's embrace of English isn't just a linguistic evolution—it's a cultural one. As these filmmakers navigate between their roots and global aspirations, we're witnessing the birth of a new cinematic language that respects both Swiss identity and international appeal.

This isn't about abandoning German or any other Swiss language; it's about expanding the storytelling palette to include a broader, more accessible vocabulary. In doing so, Swiss filmmakers are proving that national identity doesn't have to be a barrier—it can be a bridge.