But in order to understand the extraordinary role he played in creating the language of cinema in the 1980s and 1990s, you have to immerse yourself in his world. Now is your chance.
Müller was a cinematographer or lead cinematographer on a total of 76 films. Though he worked alongside directors of the calibre of Peter Bogdanovich, William Friedkin, Jim Jarmusch, Andrzej Wajda and Lars von Trier, he is undoubtedly most closely associated with Wim Wenders. It is never easy to discuss the work of a cinematographer, even though it is present in every second of the film. One of the reasons is that we tend to think: it's just a guy with a camera who records what he can see. Great, we can also see it all on the cinema screen, too. Except that we see with the eyes of the cinematographer: a carefully planned, created world. A composition of moving pictures written in light. In the 1970s, American cinema enjoyed a spectacular rebirth, and a parade of European filmmakers - with Wim Wenders in the vanguard - became infatuated with American actors, landscapes, film genres, thrillers and scores. Paris, Texas is one of the most striking examples of how a sensitive European film can originate from overseas inspirations. With stunning sensibility, Robby Müller incorporates the lights and spaces of American road movies and Westerns and the paintings of Edward Hopper into the film's look. A stage constructed from an intimate drama. Because Paris, Texas is a detective story, a story of research. About a man finding himself, a story about a true return to the world. And we haven't even mentioned Ry Cooder's film score. No problem, we'll get into that after the film!
In English, with Hungarian subtitles.
The discussions before and after the screening will be conducted in Hungarian.
