Matthias Mueller

“Compelling visual feasts, dense, compacted cinema. Müller weaves a kinetic spell of motion and vitality with seemingly the simplest of means. This is maximalism – sorely needed in our movie-going venues.” – Bay Area Reporter, San Francisco, 1990 “In total independence Müller has succeeded in creating one of the most unique and exciting contributions to world cinema of the last years. His oeuvre is as fascinating as a secret garden, although everyone can find access to it.” – Bref, Paris, 1995 “Müller’s films belong to the most exciting German cinema produced throughout the last decade.” – EPD Film, Frankfurt, 1996 “That his empathy with his subjects is so perfectly borne into the apparatus of a materialist film practice, makes Müller one of the fringe’s most powerful and most perfect makers.” – Millennium Film Journal, 1998 “In Müller’s cinema of confrontation, original and found footage mingle in most diverse manners. The filmmaker’s analytic view helps him separate and combine the footage according to his ever-changing intentions. The dream-like quality of these films is intensified by the use of double-exposures and superimpositions as well as the soundtracks with their pervasive basses and slow, hypnotic rhythms. By connecting the most diverse genres with one another in a great verve, Müller throws a light on what is conventionally considered private or even queer. His oeuvre is one of the most convincing of today’s cinema and it powerfully renews the way homosexuality has been represented so far.” – Art Press, Paris, 1993