Matthias Grunsky, bvk cinematographer

MUTUAL APPRECIATION press

SAN FRANCISCO BAY GUARDIAN - Max Goldberg:
"How then do we account for this guided freewheel? Cinematography is, as always, at least part of the answer. The grainy 16mm black-and-white film stock isn't mere affectation but rather a functional stylistic element, underscoring the drab reality of the movie's unsettled spaces: apartments with everything secondhand and mismatched, unmade beds on nicked hardwood floors, and rooms that are either too big (making one fret over the lack of proper furniture) or too small (making one crouch). Bujalski and cinematographer Matthias Grunsky court these challenging spaces, always coming up with a revealing composition that frames characters in depth — splayed against walls or hunched in makeshift chairs."

SAN FRANCISCO CHRONICLE - G. Allen Johnson:
"Mutual Appreciation is even better. Bujalski's writing is so good, and every shot and edit seems exactly right. Hopefully, there will always be a place for a film like this on a theater screen, no matter the whims of the marketplace."

VARIETY - Joe Leydon:
"If John Cassavetes had directed a script by Eric Rohmer, the result might have looked and sounded like Mutual Appreciation. Indie auteur Andrew Bujalski (Funny Ha Ha) has studied his mentors closely- Mike Leigh and Jim Jarmush are among his other obvious influences- and put whatever lessons he learned to good use in this unaffectedly naturalistic and appealingly quirky low- key comedy about twentysomethings in the process of inventing themselves."

E FILMCRITIC - Jay Seaver:
"It's an interesting style, especially combined with Matthias Grunsky's black-and-white cinematography. The effect reminds my of the French New Wave, in terms of interesting angles and scenes framed for conversation leaving things unsaid."  

TWITCHFILM - Peter Martin:
"Despite my personal reservations about the storylines, though, I cannot deny the casual artistry on display, an appealing amalgam of sound, dialogue -- once again convincingly enacted with non-professionals -- and the intentionally bleary, handheld, semi-doc look of cinematographer Matthias Grunsky, capturing some of the most endearingly daring black and white imagery in recent years."