Matthias Muller

"Müller's gorgeous chromatic schemes, his characteristic syncopation, grand eye for detail, and his resolute focus on the traumas underlying his subjects, the fact, that his empathy with his subjects is so perfectly borne into the apparatus of a materialist film practice, all this makes him one of the fringe's most powerful and most perfect makers."
- Mike Hoolboom, Millenium Film Journal, New York, 1998

"What sets Müller apart from most other experimental filmmakers is that his work impacts emotionally as much as intellectually -juxtaposing the conventions and repressions of Hollywood's past with his own memories and passions, he articulates the cinema's collective unconsciousness with uncommon eloquence and power."
- Jason Ankeny, Film Thread Weekly, 2000

"Matthias Müller has established himself as a key player in the fecund territory where artist's filmmaking meets the more intriguing boundaries of experimental cinema. With a hugely distinctive styling - poetic adoption of found footage, distressed and bleached surfaces, washes of intense colour and unconventional cutting (that belong to the tradition of Anger, Jarman and Brakhage), coupled with the rigour and precision of certain lean movie traditions - Müller mines desire, dream and the pressure of the public as it works on gender and self- expression."
- Gareth Evans, Time Out, London 2001


Mirror (2003)
Vacancy (1998)
Alpsee (1994)