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Thomas Imbach likes taking risks. With each new film project, he moves into uncharted territory and consciously seeks a complex cinematographic challenge. How else could one explain his idea of making a film out of unspectacular day-to-day office activities in a Swiss financial institution (Well Done, 1994)? Or staging the mysterious murder/ suicide drama of Petra Kelly and Gert Bastian as a suggestive 90 minutes of sudden death (Happiness Is a Warm Gun, 2001)? Asked about his motivation for making specific films, Imbach once replied that he never planned his film topics in advance. “They always came to me in a flash. It‘s like being in love; you can‘t really explain why.”