“Watching VACANCY is to be sucked into a narrative worthy of Andrei Tarkovsky’s great and greatly mysterious film, Stalker. Müller’s images cut and dissolve into each other remorselessly; delivering an unearthly take on Brasília’s architecture. Looking on in that darkened room, it is easy to imagine that even the most unremarkable buildings, those we pass heedlessly every day, carry a weird, protean charge; flickering alternative forms that, if revealed, might make them as shockingly bizarre as coelacanths.” (Jay Merrick, The Independent, London 2001)