Phantom is largely about voluminous, voluptuous window draperies which billow and blow in dramatically. Müller uses found footage from feature films, manipulates the negatives, and then exquisitely and intricately edits them. In fact, Müller’s cinematic study of drapery in Phantom is as careful, sensual, and thorough as Leonardo’s drawings of drapery (which was an essential part of art training in the Renaissance). Women appear in the film sometimes engulfed in the fabric while at other times they dramatically rip open the drapes as if trying to escape their interior confines. Male figures frequently follow women’s theatrical outbreaks to quickly and authoritatively close the open drapes. Skin and cloth indicate one another symbolically. In this context, Müller’s images of women are not only trapped like ghosts in the cinematic apparatus. They are, as feminie stereotypes, trapped in their own skins, and the curtain billowing out the windows (mirroring the surfaces of sky and water) serve as emblems of ambiguity, impermanence, and transformation.“

Alison Ferris, Curators’ Intuition, exhibition catalogue, ICA at Maine College of Art, March 2004