Fluorescent lights and rooms with a view. Brutalist and commercial landscapes of American modernity. Edward Hopper and cinematographer Robby Müller both produce a kind of romance in their isolated portraits of individual subjects. Both alike in their treatment of distance, the viewer’s position becomes as striking as the composition of the bodies in view. Public spaces are seen as private and intimate, far removed from the viewer, that there is a kind of invasiveness in looking at them. Both Hopper and Müller seem to connect various moods of American mid to late twentieth-century culture through their depiction of empty space and fluorescent colour as isolating yet all-encompassing.