Les Cinémas du Grütli

Les Cinémas du Grütli

Housed within the Maison des Arts du Grütli, Les Cinémas du Grütli is distinguished for its commitment to showcasing independent, international, and avant-garde films. Featuring multiple screening rooms, the cinema caters to cinephiles with a diverse daily selection of cinematic expressions, incorporating retrospectives, thematic cycles, and a thoughtful program tailored for a young audience. Notably, the cinema engages in collaborations with various cultural festivals and hosts premieres in the presence of film directors.

Rue du Général-DUFOUR 16,
1204 Genève

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All Events at this Venue

Sunday 8 November, 14:00

Chilean documentarian Patricio Guzmán’s monumental Battle of Chile chronicles the last months of Salvador Allende’s government with unflinching proximity. Combining rigorous observational footage, testimony and political analysis, Guzmán captures public assemblies, factory life and mass mobilisation as history unfolds. This early trilogy—parts I–III—shaped his lifelong interrogation of memory, power and exile, blending investigative urgency with poetic reflection. Shot with intimate close-ups and collective panoramas, the films probe trauma, hope and the ethics of remembering.

14 September – 7 December

Founded in Geneva in 1951 by cinema enthusiasts including Alain Tanner and Claude Goretta, the Ciné-club universitaire de Genève (CCU) has spent 75 years bringing audiences together around singular films and shared discoveries.

To celebrate its 75th anniversary, the CCU looks back across more than seven decades of cinema with a programme of 30 films spanning continents, genres, generations and perspectives — while looking towards the future of the seventh art.

Monday 9 November, 20:30

Orkhan Aghazadeh’s tender documentary follows an elderly projectionist in an isolated Azerbaijani village as he strives to revive the local cinema after years without a screening room. Observational and intimate in approach, the film captures quiet gestures, communal rituals and the projectionist’s relationship to memory, passion and intergenerational transmission. Through patient framing and subtle soundscapes, it becomes a reflection on cultural persistence, the fate of traditional film spaces and the communal power of shared images.

Talysh and Russian with French subtitles. Screening in collaboration with Let’s Doc! (National Documentary Month). Screening followed by a discussion.

Wednesday 11 November, 14:45

Mark Osborne’s animated adaptation of Antoine de Saint-Exupéry’s tale follows a little girl living in a world governed by success, who meets an old aviator and through his story rediscovers imagination. Mixing digital animation and stop‑motion techniques, the film offers a layered visual poetry that preserves the book’s themes—childhood, curiosity and the need to see beyond appearances—while questioning the place of wonder in a rational, achievement‑driven society. Intimate and visually inventive, it speaks to both children and adults.

In English with French subtitles. Part of the Cinémas du Grütli’s screenings for young audiences, in collaboration with Terre des Hommes.

Thursday 12 November, 20:30

Perfect Days is Wim Wenders’ contemplative portrait of a man whose quiet rituals reveal the poetry of ordinary life. Through spare, attentive mise-en-scène, the film follows Hirayama as small gestures, music and chance encounters gradually open a larger emotional landscape. Wenders composes a film about attention, human connection and a gentle form of resistance to the accelerating modern world, privileging silence, detail and the slow accumulation of meaning.

Japanese with French subtitles.

Friday 13 November, 19:15

Jean-Luc Godard’s 1987 film is a playful, fractured homage to Catherine Ringer, set around Les Rita Mitsouko’s studio sessions and the restless energy of creation. A perfectionist filmmaker called “the Idiot” tries to finance a new project while Godard threads together the 1986 recording sessions for Fred Chichin and Catherine Ringer’s album The No Comprendo. The result is a witty, self-reflexive portrait of artistic labor, music, and cinema colliding in a loose, dreamlike flow.

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