The most stylistically challenging and surprising film was “Icons of Light” by Christian Moris Müller, a story about love and consumption in which a couple tries to erase all digital traces of its existence in an attempt to drop out; a film that dazzled with its exciting camerawork and capped off an overall successful festival.
SWR- THE WINNERS OF SAARBRÜCKEN, Rüdiger Suchsland
Rarely has German cinema in the past few years been as innovative, emotional, colorful and depressing as Christian Moris Müller’s new film, “Icons of Light,” which celebrated its premiere at this year’s Max Ophüls Prize. Müller tells a wonderful story about love and life, decay and resurrection. He is not afraid of asking big questions.
WIR SIND MOVIES, Max Fischer
“Icons of Light” is great cinema, one of this year’s new hopes for young German film. What’s pleasing about the film is that it doesn’t offer any clear answers. Its strength – which becomes especially clear through the contrast between the two multi-layered couples, Katharina and Steffen, and Robert and Paul – come from that openness. If it was Christian Moris Müller’s goal to make viewers think, then with his new film, “Icons of Light,” he has once again succeeded.
BUCH & FILM, Michael Hensch
Aesthetically, “Icons of Light” is the most brave, experimental and visionary German film of the last year.
epd Film, Rudolf Worschech
Cinema’s role as a space for the exploration of possibilities prompted German director Christian Moris Müller to launch an exciting experiment in his film … “Icons of Light” takes a new approach to a philosophical question. The film artistically elevates the subject in an interesting manner, winning over viewers with its ambitious imagery. The question of what or who one can still be and whether every new beginning needs to involve the destruction of what came before, will surely lead to excited conversations after visiting the cinema.
TELESCHAU, Diemuth Schmidt
“Icons of Light” is a quietly told chamber play that reveals the inner conflict of its characters through its delicate visual language and original editing.
ZITTY, David Thibaut
Christian Moris Müller’s “Icons of Light” is a fascinating thought-experiment in the guise of an intimate existential drama.
ARTE, film recommendation of the week
There were especially strong reactions in the main competition to “Icons of Light.” In an elaborate chamber play, screenwriter and director Christian Moris Müller tells the story of a couple (played by Theresa Scholze and Max Riemelt) that would like to reset their lives to zero. Is that possible? To drop out? To give away everything, or even discard it? To flee from oneself?
GETIDAN, Peter Claus
From this, director Christian Moris Müller has created a film that should especiallz interest artistically oriented filmgoers. He has created strong, atmospheric images with good sound design, along with numerous calm passages that bring viewers close to the actors and into their inner lives. The camera, which is also operated by the two protagonists as a means to documenting their transformation, has the same effect. Thus, the film succeeds in creating a high degree of intimacy. SR-ONLINE, Christian Schwarz