Maija-Lene Rettig

Matthias Müller’s films are always about both the eternal and the volatile qualities of cinema. They exaggerate the unreality and clinical perfection of the Hollywood studio films of the 1950s, quoting its sets and colours (Home Stories, 1990; Pensão Globo, 1997) or even reconstructing them in minute detail (Alpsee, 1994). But, at the same time, these attributes, known in film jargon as the production values, are exposed to decay – a decay which on closer inspection proves to include wilful acts of creation. As his own lab technician, Müller is responsible not only for subsequent wear and tear, but also for the initial developing of his own film material.

A common advertising painted on a wall in London becomes a message that is sent to me and says not to lose courage in this world. Faced with an unknown large city, my camera allows me to put in order the chaos outside.

Short film directed by Maija-Lene Rettig

Matthias Müller’s films are always about both the eternal and the volatile qualities of cinema. They exaggerate the unreality and clinical perfection of the Hollywood studio films of the 1950s, quoting its sets and colours (Home Stories, 1990; Pensão Globo, 1997) or even reconstructing them in minute detail (Alpsee, 1994). But, at the same time, these attributes, known in film jargon as the production values, are exposed to decay – a decay which on closer inspection proves to include wilful acts of creation. As his own lab technician, Müller is responsible not only for subsequent wear and tear, but also for the initial developing of his own film material.

A common advertising painted on a wall in London becomes a message that is sent to me and says not to lose courage in this world. Faced with an unknown large city, my camera allows me to put in order the chaos outside.

Short film directed by Maija-Lene Rettig

Short film directed by Maija-Lene Rettig