Matthias Müller Trailers
Sleepy Haven Trailer
Matthias Müller was born in Bielefeld, Germany in 1961. Müller is an artist working in film, video and photography. He is based in Bielefeld and Cologne, Germany. Studied Arts and German Literature at Bielefeld University and Fine Arts at HBK Braunschweig. Master’s degree. Since 2003, Professor in Experimental Film at Academy of Media Arts, KHM, Cologne. Müller organized numerous avant-garde film events such as the "Found Footage Film Festival" (1996 & 1999) and the first German festival of autobiographical films "Ich etc." (1998) and various touring programs. With his films and videos he has taken part in major film festivals worldwide, including the festivals at Cannes, Venice, Berlin and Rotterdam. His work has also been featured in several group and solo exhibitions. His films and videos are part of the collections of institutions such as Centre Georges Pompidou, Paris, Museu d’Art Contemporani, Barcelona, Nederlands Film Museum, Amsterdam, Australian Centre For The Moving Image, Melbourne, Kunsthalle Bielefeld, the Goetz Collection, Munich, the collection of Isabelle and Jean-Conrad Lemaître, London, and Tate Modern, London.
Source: Lightcone
Most Popular Matthias Müller Trailers
Total trailers found: 38
14 August 1999
Brasília, the "city of hope", "the ultimate utopia of the 20th century" , is being conserved as a cultural heritage today.
14 August 1994
A paean to light, a glittering bodice of a film that rapturously unfolds its subject with a shimmering luminosity.
08 October 1997
A man faces his approaching death. He takes a journey, his last perhaps, and ends up at the Pensão Globo in Lisbon, where he sets out on aimless excursions through the city.
09 September 2011
Nostalgic excerpts of fiction, fairytales and vintage science fiction from a child’s room to way out into the galaxy.
01 January 2001
In Phantom, each face, each body appears, like cinema itself, from beneath a curtain that flutters and flickers to reveal haunted silhouettes that never quite take shape.
14 August 1993
Matthias Müller's SLEEPY HAVEN is explicitly taking up the spirit of Kenneth Anger's FIREWORKS. SLEEPY HAVEN materializes fantasies of an erotic daydream; the film is a cocktail that merges Müller's own shots and found footage like a love act.
24 September 2017
When a convicted felon fails to return from his prison leave and a young woman is found murdered, forensic psychiatrist Roman Mettler finds himself fighting for his existence.
14 August 1990
This one is a collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set.
14 August 2002
BEACON is a montage of location shots filmed at ten different places around the world. These sites are connected by the fact that each is located by the sea.
27 April 2018
“While he mused on the effect of the flowing sands, he was seized from time to time by hallucinations in which he himself began to move with the flow.
14 August 2005
Muller/Girardet short
14 August 2000
Matthias Müller's short is based on the poems to childhood by famed Austrian lyrical aertist Ernst Jandl who tried to write these poems in a language used by children, including nursery rhymes and prayers.
01 January 2010
About blind people in Hollywood films
25 October 2009
A short feature about an optical experiment.
14 August 2004
2004 short by Muller
14 August 2005
“A study of light.” (Christoph Girardet/Matthias Müller)
14 August 2002
Combining close-ups of redundant technology gleaned from 60s US sci-fi television series with a female voice of a 40s Hollywood melodrama, Manual makes absolute detachment clash with magnified emotion.
14 August 2006
Composed of densely atmospheric and highly stylized recycled commercial footage of young, picture perfect models pleasurably applying personal hygiene and cosmetic products in a quick cut montage of disembodied, glistening skins, hairs, hands, and lips, juxtaposed against the sensual application of assorted foams, lotions, waxes, and creams, these carefully constructed, plastic images begin to fade, speckle, crack, distort, and burn with the material deterioration of the celluloid itself, before being reduced to the stark whiteness - and unadulterated purity - of an empty projection.
14 August 2001
2001 film by Muller
14 August 2003
A woman, a man, guests at an evening party. Settings, which are gradually abandoned; the remains of an event, gazes that have lost their object.
14 August 2002
2002 short by Muller
14 August 2004
Album also represents a further step on a path Müller set off on several years ago: away from festivals and toward the art market.
12 February 2016
This is somebody, nobody, anyone. This is us in the course of time. Persistently, in vain. The self is the need for permanent self-assertion.
20 October 1999
The film comprises edited excerpts from 40 Hitchcock films in six chapters, each focusing on a different motif that reveals some of Hitchcock’s dark obsessions and techniques.
14 August 2003
"With their montage of found footage of audiences, Müller and Girardet shape a captivating dramatic arc.
14 August 2003
Promises is based on a selection of sixteen prints from a collection of vintage wedding photographs. The video pulses violently from one bouquet of red roses to another, focusing on their unifying similarities.
11 October 1995
For a young boy, ordinary facts and things of daily life seem to have great importance.
13 February 2012
Since 1995, the Viennale has invited renowned directors to create short, one-minute films as personal contributions to the festival.
15 July 2013
The body as a wound that never heals.
26 May 2016
There's a reason why many consider Iggy Pop the godfather of punk - every single punk band of the past and present has either knowingly or unknowingly borrowed a thing or two from Pop and his late-'60s/early-'70s band, the Stooges, who reunited in 2003 and were inducted into the Rock and Roll Hall of Fame in 2010.
14 August 1989
A reminiscence of a friend who had died of AIDS. His own mourning finds expression in the blending of found and original material, which seems to become one with the film material.
09 September 1989
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).
01 June 2006
The film creates a melodrama inside seemingly claustrophobic mirrored cabinets. Like an anonymous viewer, the mirror observes scenes of intimacy.
01 January 2022
Time and again, the feature film places animal actors at the side of its human protagonists – sometimes as loyal companions, sometimes as fierce opponents.
05 May 2021
The television images of the collapse of the World Trade Center were preceded by manifold stagings of the building, either as a highly symbolic icon, a speculative destruction fantasy or merely as a spectacular backdrop.
06 June 1987
An early Super 8 collage experiment by Müller using found film reels and home‑movie fragments.
05 June 1985
As a couple awakens and rituals of breakfast unfold, war news headlines and radio radio broadcasts emerge in layers.
05 June 1987
A young boy peers through a wall in dreamlike sequences; silhouette dancers, industrial motifs and doubled visuals form a narrative of childhood’s abrupt end.
