(selection, all short) Aus der Ferne - The Memo Book (1989), Home Stories (1990), STERNENSCHAUER - Scattering Stars (1994), Sleepy Haven (1993), Alpsee (1994), PENSÃO GLOBO (1997), Vacancy (1998), Phoenix Tapes (1999, co-dir), Phantom (2001), Nebel/Fog (2000), Manual (2002, co-dir), Beacon (2002, co-dir), Play (2003, co-dir), Album (2004, instal), Mirror (2004, co-dir), Ray (2004, co-dir), Catch (2005, co-dir), Ground (2005, co-dir), Hide (2006, co-dir), Kristall (2006, co-dir), Maybe Siam (2009, co-dir), Contre-jour (2009, co-dir), Meteor (2011, co-dir), Cut (2013, co-dir), personne (2016, co-dir), Screen (2018, co-dir)
More info: Wikipedia, Matthias Müller
Matthias Müller at IFFR
Homo-romantic seaman's film. An ode to Jean Genet.
Dreamed return to the living-womb of the early sixties.
Man infected with the HIV virus prepares for his impending death in Lisbon.
Brilliant reordering of fragments from Alfred Hitchcock's opulent oeuvre alienates and also does justice to the master.
Personal and layered evocation of the 'dream city' Brasilia, made by one of the masters of the short film Matthias Müller.
1-Minute avant-garde poem about what film is (too).
Enchanting, hypnotic film about the seasons, mist, light, nostalgia, poetry, based on a poem by Ernst Jandl.
About the sensuality of the naked torso of a sailor. Masterful found-footage adaptation.
Short film originally made as installation in which silhouettes are imprisoned in the (negative) image and a 'loop'.
A timeless and imaginary portrait of the coast, with waves of melancholy and nostalgia.
Combining closeups of redundant technology gleaned from 1960s US scifi television series with a female voice of a 1950s Hollywood melodrama, Manual makes absolute detachment clash with magnified emotion. With its record of the minutiae of endless buttons, switches and control panels and its choreography of a machinelike body language, Manual reduces the notion of any manageability of life to sheer absurdity.
Collection of frozen tableaux only moved by the light. With echos of Antonioni.
Play is a montage of archive footage of audiences in which the on-screen action can only be seen reflected in the facial expressions and gestures of the audience. Individual behaviour condenses into collective behaviour. The event is transferred from the stage to the hall; audience members become the actors in an unpredictable drama.
Dana Linssen wrote about this work in de Filmkrant: 'A film that wants to make us experience nothing else but Light! Light! Light! and life between the flashes.'Screened before Was du nicht siehst.
A voyage from the children's room to outer space, using elements of feature films, fairy tale moments gone astray and vintage science fiction motifs.
A mesmerising accumulation of floating imagery reverses the relationship between the hypnotised subject and the hypnotist, and between the spectator and the screen.
Müller collected the most kitschy and colourful images of disturbed housewifes in evening gowns from 1950s Hollywood melodramas and re-cut them. (sixpack)