"Cinéma, Cinéma": Basel stages the ESC as great cinema
With the 2025 Eurovision Song Contest, Switzerland pulled off a television event that combined international stature with a local flavor. Basel proved to be a compelling host city, SRG a strong broadcaster, and the show delivered visuals that could have been inspired by the title of Paola Felix’s 1980 Eurovision classic: ’Cinema, Cinema.«.
Basel delivered - and how. The ESC 2025 was not only a global music festival, but also a media tour de force that impressively demonstrated what a cleverly organized host city and a committed public broadcaster can achieve together. In reference to Paola Felix's fourth place in 1980 with the song "Cinema", the evening really did offer: great cinema.
From the fireworks over the Joggeli, which was packed with 36,000 fans, to the choreographed final show in the St. Jakobshalle, a spectacle was staged that can be regarded as European entertainment at the highest level - but also as a successful communication and branding platform for Switzerland.
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Basel as stage and ambassador
What Basel has achieved goes beyond event logistics. The city used its international appeal to reposition itself as an open, creative and cultural metropolis. The Friends of Eurovision" branding boxThe "ESC", an idea of Basel Tourism and Mona and Mateo, allowed local businesses to visibly participate in the event even without an ESC license.
This creative response to trademark boundaries led to a collective cityscape with attitude: welcome, diverse, self-confident. Accompanying art actions - such as Claudia Comte's "Lightning Symphony" or the Rainbow installation at the Fondation Beyeler - also made Basel part of the show in public space.
SRG: A strong signal for public broadcasting
SRG also knew how to use its home advantage. The broadcaster delivered a top European production with a first-class production, pointed direction, fluid stage changes every minute and a show dramaturgy that focused on content rather than effects.
Over 550,000 viewers for the first semi-final alone are proof of a strong response - the final ratings will be higher. It was a moment in which linear television showed that it is still capable of touching and connecting.
Hazel Brugger surprises - the trio convinces
The moderation was in the hands of Hazel Brugger, Sandra Studer and Michelle Hunziker. And while Hunziker acted in an experienced, albeit somewhat scripted manner, and Studer shone as a show professional, it was Hazel Brugger who provided new accents with her fresh, ironic style.
Not every punchline hit, but their approachability worked surprisingly well in the setting of a large-scale TV production. The trio's mixture of coolness, lightness and show experience created a credible, modern overall effect.
Basel was good, Céline wasn't, Sandra and Hazel were good, Michelle unnecessary, Joggeli cool, Demos not - 20-Minuten-User
Media brands and momentum
Swiss media companies also took advantage of the ESC momentum: 20 minutes focused on visibility and reach with special editions, live reporting and stage campaigns. Advertising brands such as Nivea and Vaudoise docked with special formats - a prime example of how entertainment, media presence and brand communication can be combined.
Music, jury and the Swiss zero number
Musically, ESC 2025 was not a year for the history books. But Zoë Më, the Swiss representative, impressed with a classic, deliberately calm ballad - and was voted into second place by the jury. The fact that the audience gave her zero points was bitter - but perhaps also an expression of a show that found its way back to the music instead of fleeing into the spectacle.
Switzerland had the feeling they could win with a lullaby. They just don't learn - 20-minute user.
Austria's JJ took the win with a drama track somewhere between opera and club, staged as a stormy voyage on the high seas. That too: great cinema.
The conclusion: ESC 2025 was a joint effort - by the city, broadcaster, artists and audience. Basel presented itself as an urban stage, SRG impressed with its technical brilliance, and Switzerland showed how culture, media and brand can work together. Perhaps not the best music show - but one that will be remembered. "Cinema, Cinema" indeed.
