Swiss director Tim Fehlbaum, known for the acclaimed pressure-cooker drama “September 5,” is already mapping out his next move - a return to period filmmaking with a new project set in Berlin. The news arrives as a wave of Swiss filmmakers increasingly navigate the tricky terrain of producing English-language features, balancing artistic authenticity with the commercial demands of the global market.
Fehlbaum, whose “September 5” immersed audiences in the tense 1972 Munich Olympics hostage crisis from the perspective of an American sports broadcasting team, has demonstrated a keen eye for historical immediacy. His upcoming feature, described simply as a “historical film” with a Berlin setting, suggests he is keen to continue exploring how individual stories intersect with pivotal moments in 20th-century history. While specific plot details remain under wraps, the choice of Berlin as a backdrop offers a rich canvas - a city whose layered past has long fascinated filmmakers seeking to examine themes of division, identity, and reinvention.
The announcement surfaced during conversations about the broader trajectory of Swiss cinema, a national industry that punches above its weight in festival circles but often faces a fundamental strategic question: whether to shoot in native languages like German, French, or Italian, or pivot toward English to secure broader distribution. For Fehlbaum, who grew up in Basel and studied film in Munich, the decision to work in English is both practical and creative. His previous features, including the sci-fi thriller “The Silence” and the ecological drama “Hell,” played internationally, but “September 5” marked a decisive leap into the English-language arena with a largely American cast, including Peter Sarsgaard and John Magaro.
For Swiss directors, the shift to English is rarely a simple translation exercise. It involves recalibrating performance styles, dialogue rhythms, and even narrative structures to resonate with audiences accustomed to Hollywood’s pacing while retaining a distinctly European sensibility. Fehlbaum has spoken in the past about the value of constraints - how technical limitations or cultural differences can spur more innovative storytelling. Shooting a historical piece in Berlin, a city he knows well, likely offers a different kind of anchor: a tangible sense of place that can ground a story regardless of the language spoken on set.
The broader context here is the steady internationalization of Swiss filmmaking. Industry observers note that Swiss directors are increasingly co-producing with German, French, and even American partners, a trend that allows for bigger budgets and wider reach but also introduces new pressures. Funders may expect a certain commercial viability; co-producers may push for recognizable faces; and the delicate balance between universal appeal and local specificity can tip either way. Fehlbaum’s career illustrates a possible path: start with smaller, more personal projects, build a reputation at festivals, and then step up to larger canvases without abandoning a signature visual style - often cool, precise, and meticulously researched.
“September 5” was particularly notable for its formal discipline, unfolding in near real-time within the cramped, chaotic control room of ABC Sports. That film’s success - both critically and with awards-season chatter - has raised expectations for whatever Fehlbaum tackles next. A historical drama set in Berlin could allow him to exercise similar muscular craftsmanship, but with more scope for period detail and architectural sweep. Whether the story focuses on political intrigue, personal drama, or a mixture of both, Fehlbaum has shown he is unafraid to tackle morally complex subjects without easy heroes or villains.
The challenges for Swiss filmmakers extend beyond language. There is the question of cultural identity: how much of a film remains “Swiss” when it is shot in English with non-Swiss actors? Some directors have embraced this ambiguity, arguing that national cinema no longer needs to be defined by language alone. Others worry that the push toward English risks homogenizing stories that once drew strength from their linguistic and cultural specificity. Fehlbaum appears to sit comfortably in the former camp, treating language as a tool rather than a loyalty test. His Berlin-set project, presumably still in early development, will likely reflect that pragmatic yet ambitious worldview.
Industry insiders also point to the practical advantages of shooting in Berlin, a hub that offers not just historic locations but also a robust infrastructure of studios and crews accustomed to international productions. The city’s scars and rebuilds - from the Wall to Potsdamer Platz - provide a visual shorthand for change, making it a favorite for directors who want their settings to carry narrative weight. For Fehlbaum, who thrives on meticulous research and spatial storytelling, Berlin might feel less like a foreign location and more like a collaborator.
As the project takes shape, fans of “September 5” will be watching closely to see how Fehlbaum translates the lessons of that film - tension through technology, dialogue as a weapon, history as a live wire - into a new context. The shift from a single, claustrophobic room to the sprawling complexity of a city suggests a maturation of ambition, even if the underlying questions about power, media, and morality remain consistent.
For now, the director is part of a larger movement of Swiss talent testing the waters beyond their borders. Whether they succeed depends not just on box office returns but on their ability to keep telling stories that feel rooted even when shot in a borrowed tongue. Fehlbaum’s track record offers reason for optimism: he has repeatedly found the human pulse inside large historical and technological frameworks. A Berlin film, in his hands, could be exactly the kind of work that bridges the gap between national cinema and global audience - no translation required.
Source: Variety