{{Short description|Canadian film director and cinematographer}} {{Infobox person | image = [[File:PeterMettler-2024.jpg|frameless]] | image_size = 200px | caption = Peter Mettler, 2013 | name = Peter Mettler | birth_name = Peter Mark Mettler | birth_date = {{Birth date and age|1958|09|07}} | birth_place = [[Toronto]], [[Ontario]], Canada | death_date = | death_place = | other_names = | occupation = [[Film director]]<br>[[Cinematographer]]<br>[[Photographer]] | years_active = 1976–present }}
'''Peter Mettler''' (born September 7, 1958) is a Swiss-Canadian film director and cinematographer.<ref>{{cite web|url=https://www.thecanadianencyclopedia.ca/en/article/peter-mettler |title=Peter Mettler – The Canadian Encyclopedia}}</ref> He is best known for his unique, intuitive approach to documentary, evinced by such films as ''[[Picture of Light]]'' (1994), ''[[Gambling, Gods and LSD]]'' (2002), and ''[[The End of Time (2012 film)|The End of Time]]'' (2012). "His peripatetic lens is ever gravitating toward outsiders in search of ecstatic states", writes José Teodoro in ''Brick'', "strange spectacles that defy straightforward documentation, and sacred places that promise some metaphysical deliverance. There are precedents for his methodologies—the films of [[Chris Marker]] and [[Werner Herzog]] come to mind—but Mettler’s gifts as an open and unobtrusive interviewer and his capacity to discover shared sensibilities between people of vastly diverse cultures and creeds feels singular."<ref>{{cite web |last1=Teodoro |first1=José |title=An Interview with Peter Mettler |url=https://brickmag.com/an-interview-with-peter-mettler/ |website=Brick |publisher=Brick |access-date=18 April 2021}}</ref>
Mettler has worked as a cinematographer on films by [[Atom Egoyan]], [[Patricia Rozema]], [[Bruce McDonald (director)|Bruce McDonald]], and [[Jennifer Baichwal]], and has collaborated with numerous other artists, including [[Michael Ondaatje]], [[Fred Frith]], [[Jim O'Rourke (musician)|Jim O'Rourke]], [[Jane Siberry]], [[Robert Lepage]], [[Edward Burtynsky]], Greg Hermanovic, [[Richie Hawtin]], [[Neil Young]], [[Jeremy Narby]], [[Franz Treichler]] and Emma Davie. Since 2005, Mettler has extended his artistic practice to the realm of live digital image-mixing, collaborating with a diverse array of musicians, dancers, poets, and multimedia artists in a wide range of locales, from theatres and cinemas to dance clubs and wilderness retreats.
Mettler was part of a loosely-affiliated group of filmmakers to emerge in the 1980s from Toronto known as the [[Toronto New Wave]].
==Early life== Mettler was born in 1958 in Toronto, Ontario, where he was raised. His parents were Swiss immigrants. He made his first films at the age of sixteen before studying cinema at [[Ryerson Polytechnical Institute]] (1977-1982). While Mettler was at Ryerson, he spent summers loading cargo onto airplanes in Zürich. In the midst of his studies he took a year off to work at a heroin rehabilitation home in a repurposed twelfth-century Swiss monastery.
==Career==
'''''Scissere'''''
Mettler's transformative experience at the heroin rehabilitation home provided the inspiration for his first feature ''Scissere'' (1982), "a narrative film that feels like an experimental piece, a collage of micro-tales of schizophrenia, addiction, study, and solitude",<ref>{{cite web |last1=Teodoro |first1=José |title=Nothing But Time |url=https://www.filmcomment.com/article/peter-mettler-the-end-of-time/ |website=filmcomment.com |publisher=Film Comment |access-date=7 April 2021}}</ref> which he dedicated to Bruno Sciessere, one of the facility's patients. ''Scissere'' was the first student film included in the [[Toronto International Film Festival]] (formerly known as the Festival of Festivals), and received the [[Norman McLaren]] Award for Best Canadian Student Film.<ref name="NorthernStars">{{cite web |url=http://www.northernstars.ca/scissere/ |title=Scissere (1982) |access-date=2015-09-22 |work=Northern Stars}}</ref>
'''''Eastern Avenue'''''
Mettler followed ''Scissere'' with ''Eastern Avenue'' (1985), an intuitive travelogue diary: a form that would become a hallmark of his filmmaking style. With stops in Switzerland, Germany and Portugal, "the film presents a freely flowing series of impulsive, impressionistic images: urban and rural, artificial and natural".<ref>{{cite book |last1=McSorely |first1=Tom |title=Peter Mettler: Making the Invisible Visible |date=1995 |publisher=Reihe Andreas Züst im Verlag Ricco Bilger |location=Switzerland |isbn=3-908010-93-4 |page=102}}</ref> Throughout the 1980s, in addition to working on his own personal projects, Mettler would also collaborate as a cinematographer on several key films in the Toronto New Wave cinema, such as [[Atom Egoyan]]'s early features ''[[Next of Kin (1984 film)|Next of Kin]]'' (1984) and ''[[Family Viewing]]'' (1987).
'''''The Top of His Head'''''
Following ''Eastern Avenue'', Mettler wrote and directed ''[[The Top of His Head]]'' (1989), a feature drama that follows a satellite salesman's "unexpected spiritual odyssey"<ref>{{cite book |last1=McSorely |first1=Tom |title=Peter Mettler: Making the Invisible Visible |date=1995 |publisher=Reihe Andreas Züst im Verlag Ricco Bilger |location=Switzerland |isbn=3-908010-93-4 |page=104}}</ref> after meeting a radical performance artist. As with Mettler's subsequent films, ''[[The Top of His Head]]'' explores the nature of human perception and technology's ability to liberate and enslave experience through the power of recording media. "The images are dazzling", writes Bruce Kirkland. "Forced telephoto perspectives on industrial wastelands jar the eye. Extreme close-ups turn a drop of water into a micro-universe."<ref>{{cite journal |last1=Kirkland |first1=Bruce |title=Top marks for Top Of His Head |journal=The Toronto Sun |date=November 24, 1989}}</ref> The film received three [[Genie Award]] nominations.
'''''Tectonic Plates'''''
In 1992, Mettler adapted the stage play ''Tectonic Plates'' by [[Robert Lepage]], in collaboration with Lepage and Theatre Repère. Rather than document a performance or adapt the stage narrative into screen drama, the film, shot on location in Venice, Scotland, and Montreal, "seeks to articulate cinematically the intersections of theatre and cinema, past and present, culture and nature, interior and exterior, representation and reality".<ref>{{cite book |last1=McSorely |first1=Tom |title=Peter Mettler: Making the Invisible Visible |date=1995 |publisher=Reihe Andreas Züst im Verlag Ricco Bilger |location=Switzerland |isbn=3-908010-93-4 |page=112}}</ref> "The result", writes Vit Wagner in the ''[[Toronto Star]]'', "is an intriguing and visually tantalizing collage that bridges the two media in a way that structurally underscores Lepage's themes of convergence, separation and transformation".<ref>{{cite journal |last1=Wagner |first1=Vit |title=Lepage play great on screen |journal=The Toronto Star |date=November 27, 1992}}</ref> The play is a series of vignettes that draw inspiration from the movement of geologic tectonic plates. This metaphor expanded Mettler's associative approach to narrative, which would be developed further in his later documentaries ''[[Picture of Light]]'' (1994), ''[[Gambling, Gods and LSD]]'' (2002), and ''[[The End of Time (2012 film)|The End of Time]]'' (2012).
'''''Picture of Light'''''
''[[Picture of Light]]'' (1994), Mettler's "meditative, at times profoundly beautiful non-fiction adventure film",<ref>{{cite web |last1=Teodoro |first1=José |title=An Interview with Peter Mettler |url=https://brickmag.com/an-interview-with-peter-mettler/ |website=brickmag.com |publisher=Brick |access-date=6 April 2021}}</ref> was made as a result of a chance meeting at a dinner party with the Swiss artist, collector and meteorologist Andreas Züst, who proposed that Mettler capture the [[aurora borealis]] on film. Mettler took up the challenge, braving arctic temperatures and constructing a special time-lapse camera system capable of operating in severe nighttime conditions during the film's photography in Churchill, Manitoba. A "beguiling and often breathtaking documentary about the meaning and mythology of the Northern Lights",<ref>{{cite journal |last1=Pevere |first1=Geoff |title=Cold snap |journal=The Globe and Mail |date=September 12, 1994}}</ref> ''[[Picture of Light]]'' laid the foundations for Mettler's exploratory essay style, and was widely acclaimed, winning numerous awards. In 2017, the film was one of eight Canadian classics screened at the [[Toronto International Film Festival]] as part of its celebration of Canada's sesquicentennial.<ref>{{cite web |title=LIGHT UP THE NATION: CANADA'S 150 DEFINITIVE WORKS |url=https://assets.ctfassets.net/22n7d68fswlw/5P8bynBA2WsaiwCcwgAG2I/427bd418b0d0a5feb12314ee143b0ed5/Canada_on_Screen.pdf |website=tiff.net |access-date=19 April 2021}}</ref>
'''''Balifilm''''', '''''Krapp's Last Tape'''''
Between ''[[Picture of Light]]'' and his next major project, the colossal ''[[Gambling, Gods and LSD]]'', Mettler crafted the transfixing and elegant 28-minute ''Balifilm'' (1997). Weaving various images captured during travels in Indonesia with a soundtrack of [[Gamelan]] music, the film "may be the closest Mettler has come to a cinema of trance".<ref>{{cite journal |last1=Wise |first1=Wyndham |title=Peter Mettler: The Pursuit of Wonder |journal=Take One |date=2004 |issue=Special Edition |page=39 |issn=1192-5507}}</ref>
Mettler and [[Atom Egoyan]] reunited once more as cinematographer and director, respectively, for an adaptation of [[Samuel Beckett]]'s [[monodrama]] ''[[Krapp's Last Tape]]'' (2000), which starred [[John Hurt]], as part of the ''[[Beckett on Film]]'' series.
'''''Gambling, Gods and LSD'''''
''[[Gambling, Gods and LSD]]'' (2002), an epic project some ten years in the making, is a three-hour long meditation on transcendence shot across three continents in a dizzying array of locations, including Toronto's airport strip, where Toronto Airport Fellowship Church congregates dance and swoon at an evangelical service, Las Vegas, where crowds gather to witness a demolition, Zürich, where addicts speak of their marginal existence, and southern India, where Mettler's approach to street life and worship becomes more observational. The final cut was derived from a 55-hour long assembly of unique footage, which Mettler said was like "composing a piece of music".<ref name="TakeOne">{{cite web |url=http://www.highbeam.com/doc/1G1-92802465.html |archive-url=https://web.archive.org/web/20160224205014/https://www.highbeam.com/doc/1G1-92802465.html |url-status=dead |archive-date=2016-02-24 |title=In search of wonder: Peter Mettler's Gambling, Gods and LSD, Take One |access-date=2015-09-22 |work=TakeOne}}</ref> "The finished film is long by conventional standards", wrote Cameron Bailey, "but it has the immersive feel of a great concert, or religious experience, or dream".<ref>{{cite web |last1=Bailey |first1=Cameron |title=Trance & transcendence: Peter Mettler's gambling, gods and LSD tracks ecstatic treks |url=https://nowtoronto.com/news/trance-transcendence |website=nowtoronto.com |publisher=Now |access-date=19 April 2021}}</ref> ''Gambling, Gods and LSD'' received a [[Genie Award]] for Best Documentary.
'''Image Mixing'''
After ''[[Gambling, Gods and LSD]]'', Mettler became interested in developing an improvisational approach to cinematic montage within a live context. Using material from his own films, including countless hours of outtakes and an immense personal trove of diaristic video, alongside a virtually unlimited range of found footage sources, Mettler creates audiovisual mixes through live improvisation, often accompanied by an improvising musician, such as [[Fred Frith]], or a DJ, such as [[Biosphere (musician)|Biosphere]]. Since 2005, Mettler has worked with the software company Derivative to develop an ever-evolving image-mixing software platform. Mettler regards the work of image-mixing as a way of processing material in an image-saturated culture: "you're taking images that are coming at you from the world and making them your own. You're possessing the things that are bombarding you all the time."<ref>{{cite web |last1=Isabelle |title=Keeping in Real Time With Peter Mettler and Mixxa |url=https://derivative.ca/community-post/keeping-real-time-peter-mettler-and-mixxa |website=derivative.ca |publisher=Derivative |access-date=22 April 2021}}</ref> Mettler's image-mixing work has developed almost entirely in live, ephemeral contexts, but a "hallucinatory portal sequence"<ref>{{cite web |last1=Teodoro |first1=José |title=Nothing But Time |url=https://www.filmcomment.com/article/peter-mettler-the-end-of-time/ |website=filmcomment.com |publisher=Film Comment |access-date=22 April 2021}}</ref> in ''[[The End of Time (2012 film)|The End of Time]]'' (2012) gives viewers a hint of some of the ways in which this work manifests. Most recently, Mettler has toured across Europe performing ''Yoshtoyoshto'', a live event fusing image, story, and music produced in collaboration with anthropologist [[Jeremy Narby]] and musician [[Franz Treichler]].<ref>{{cite web |title=Théàtre Vidy-Lausanne |url=https://vidy.ch/en/yoshtoyoshto |website=tidy.ch |access-date=19 April 2021}}</ref>
'''''Manufactured Landscapes''''', '''''Petropolis'''''
Mettler served as cinematographer on ''[[Manufactured Landscapes]]'' (2006), director [[Jennifer Baichwal]]'s documentary travelogue, essay film and portrait of [[Edward Burtynsky]], the Canadian photographer famous for his large-format images of industrial landscapes and their impact on the environment and on human existence. Among the film's numerous international accolades was a [[Cinema Eye Honors]] Award nomination for Best Cinematography for Mettler.
Shot entirely from a helicopter, the [[Genie Award]]-nominated ''[[Petropolis: Aerial Perspectives on the Alberta Tar Sands]]'' (2009) found Mettler returning to a somewhat more experimental form, examining the titular subject, the world's largest industrial, capital and energy project, exclusively from a great distance and at a great height. Largely wordless, the film is at once bleak and wondrous, a study in both feats of industry and ecological malfeasance. "The object of the documentary isn't the vast domain of the oil sands, one visible from space and part of a post-terrestrial, post-human landscape", writes Georgiana Banita, "but something very human indeed, dependent on the viewers' ability to make sense, literally, of what they see on the surface of the earth, whose every mound and fracture the film painstakingly resisters".<ref>{{cite book |last1=Banita |first1=Georgiana |author1-link=Sensing Oil: Sublime Art and Politics in Canada |title=Petrocultures: Oil, Politics, Culture |date=2017 |publisher=McGill-Queen's University Press |location=Canada |isbn=978-0-7735-5038-4 |page=441}}</ref> Jerry White in ''[[Cinema Scope]]'' wrote: "Like Mettler’s previous epics of exploration ''[[Gambling, Gods and LSD]]'' and ''[[Picture of Light]]'', ''Petropolis'' is a work animated by the powerful desire to discover the unknown, and [...] by an equally powerful humility before the formidable challenges that this unknown throws up against our senses and the technology that seeks to extend those senses."<ref>{{cite web |last1=White |first1=Jerry |title=Spotlight Petropolis: Aerial Perspectives on the Alberta Tar Sands |url=https://cinema-scope.com/spotlight/spotlight-petropolis-aerial-perpectives-on-the-alberta-tar-sands-peter-mettler-canada/ |website=cinema-scope.com |publisher=Cinema Scope |access-date=18 April 2021}}</ref>
'''''The End of Time''''', '''''Broken Land'''''
Mettler's 2012 film ''[[The End of Time (2012 film)|The End of Time]]'' drew upon the associative, essayistic techniques that defined both ''[[Picture of Light]]'' and ''[[Gambling, Gods and LSD]]'' as a means of exploring the elusive nature of time through science, art, history, anecdote and interview, and various ontologies and beliefs. Mettler visits numerous locales, such as CERN's [[Large Hadron Collider]] in Geneva, the site of the Detroit workshop where [[Henry Ford]] invented the Model-T, the home of a Hawaiian hermit untroubled by encroaching lava, and a Hindu funeral held near the alleged site of the Buddha's enlightenment. ''[[The End of Time (2012 film)|The End of Time]]'', writes critic Adam Nayman, "exists in the twilight zone that is home to much of the best non-fiction filmmaking: at once rousing and sobering, baffling and precise, epic and intimate"."<ref>{{cite web |last1=Nayman |first1=Adam |title=All Things Must Pass: Peter Mettler's The End of Time |url=http://povmagazine.com/articles/view/all-things-must-pass |work=Point of View Magazine |access-date=19 April 2021}}</ref> The film's final stop is Mettler's childhood home, where he visits his mother, then in her eighties, to ask about her sense of time's passage. Time is there to enjoy everything you possibly can, she says. “Is that the right answer?” <ref>{{cite web |last1=Teodoro |first1=José |title=Nothing But Time |url=https://www.filmcomment.com/article/peter-mettler-the-end-of-time/ |website=filmcomment.com |publisher=Film Comment |access-date=6 April 2021}}</ref> Mettler closes the film on a note of ambiguity. "Like the scientists with whom and about whom he makes his films", writes scholar Jerry White in ''Of This Place and Elsewhere'', "and like the philosophers who seem to be his constant companions, he is always open to the wonder of an unpredictable result".<ref>{{cite book |last1=White |first1=Jerry |title=Of This Place and Elsewhere |date=2006 |publisher=The Toronto International Film Festival Inc. |location=Toronto |isbn=978-0-9689132-5-3 |page=53}}</ref>
Following ''The End of Time'', Mettler served as cinematographer on ''Broken Land'' (2014), a documentary about life and migration along the Mexico-U.S. border, co-directed by Stéphanie Barbey and Luc Peter.
'''''Becoming Animal'''''
Shot entirely in Wyoming's [[Grand Teton National Park]], ''Becoming Animal'' (2018), co-directed by Mettler and Emma Davie, is a dialogue with, rather than an adaptation of, ecologist and philosopher [[David Abram]]'s eponymous book. Weaving images of wildlife and places where wilderness intersects with tourist culture, along with commentaries from Abram, Mettler and Davie, ''Becoming Animal'' observes the sensory relay between man, animal and the natural world and considers what's at stake when we forfeit our connection to nature. "Cinematographically beautiful", Ellen Lande writes, it "offers insights and observations into the philosophy of modern man and how far away from nature we have placed ourselves".<ref>{{cite web |last1=Lande |first1=Ellen |title=A thought-provoking, peculiar exploration of nature |url=https://www.moderntimes.review/thought-provoking-peculiar-exploration-nature/ |website=modern times.review |publisher=Modern Times Review |access-date=19 April 2021}}</ref>
==Filmography==
===Feature films=== {| class="wikitable" |- ! Year !! Film !! Notes!! Awards |- | 1982 || ''Scissere'' || 87 min. experimental narrative. || * World Premiere in "New Directors/New Directions" at the Toronto Festival of Festivals (TIFF) * Norman MacLaren Award, Best Canadian Student Film.<ref name="NorthernStars">{{cite web |url=http://www.northernstars.ca/scissere/ |title=Scissere (1982) |access-date=2015-09-22 |work=Northern Stars}}</ref> *Nominated for Gold Hugo, Chicago International Film Festival |- | 1985 || ''Eastern Avenue'' || 58 min. experimental travelogue. || * World Premiere at Toronto International Film Festival |- | 1989 || ''[[The Top of His Head]]'' || 110 min. feature drama. || * [[Genie Award]] nomination for Best Original Screenplay * Silver Plate Award, Figueira da Foz Festival |- | 1992 || ''[[Tectonic Plates (film)|Tectonic Plates]]'' || 104 min. feature drama, adaptation of the play by [[Robert Lepage]]. ||
* Most Innovative Film of the Festival, Figuera da Foz;<ref name="BullfrogFilms">{{cite web |url=http://www.bullfrogfilms.com/catalog/tec.html |title=Tectonic Plates |access-date=2015-09-22 |work=Bullfrog Films}}</ref> * Catholic Jury Award, Mannheim Film Festival * [[Genie Award]] nomination for Best Achievement in Art Direction/Production Design * Christopher Columbus Award, Most Original and Creative of the Festival, Columbus International Film & Video Festival, Columbus, Ohio. |- | 1994 || ''[[Picture of Light]]'' || 83 min. feature documentary. || * Best Film, Best Cinematography, & Best Writing, [[Hot Docs Canadian International Film Festival]], Toronto * La Sarraz Prize, [[Locarno International Film Festival]] * Award for Excellence in the Arts, Swiss Ministry of Culture * Grand Prize (Images & Documents), Figueira da Foz International Festival * Best Ontario Feature, Sudbury Cinefest * Runner-Up Prize, [[Yamagata International Documentary Festival]]. * Nominee for Robert and Frances Flaherty Prize, [[Yamagata International Documentary Festival]] * Golden Gate Award, [[San Francisco International Film Festival]] |- | 2002 || ''[[Gambling, Gods and LSD]]'' || 180 min. feature documentary. || * [[Genie Award]] - Best Documentary, [[Academy of Canadian Cinema and Television]] * Grand Prix & Prix du Publique, Visions du Reèl (Nyon, France); * NFB Best Feature Documentary, [[Vancouver International Film Festival]] * NFB Best Documentary, [[Festival du Nouveau Cinema]] (Montreal) * 3SAT Prize for Best Documentary at Duisburger Filmwoche<ref>{{cite web |title=Gambling, Gods and LSD Awards |url=https://www.swissfilms.ch/en/film_search/filmdetails/-/id_film/1004975450 |website=swissfilms.ch |publisher=Swiss Films |access-date=22 April 2021}}</ref> * "Top Twenty Canadian Films", [[Toronto International Film Festival]] * Award for Excellence in the Arts, Swiss Ministry of Culture |- | 2009 || ''[[Petropolis: Aerial Perspectives on the Alberta Tar Sands]]'' || 43 min. documentary, co-produced by [[Greenpeace]] Canada. || * Prix du Jury du Jeune Publique, [[Visions du Réel]] (Nyon, France) * Fondazione Ente dello Spettacolo Prize, Festival dei Popoli. * Nominated: [[Genie Award]] for Best Short Documentary<ref>Melissa Leong, "Massacre story leads Genies; Quebec films dominate movie awards". ''[[Calgary Herald]]'', March 2, 2010.</ref> * [[CPH:DOX]] New Vision Award Nominee |- | 2012 || ''[[The End of Time (2012 film)|The End of Time]]'' || 114 min. feature documentary. || * Premio Qualita di Vita Award, [[Locarno International Film Festival]] * Golden Leopard Nominee, [[Locarno International Film Festival]] * “Canada’s Top Ten",[[Toronto International Film Festival]] * Nominated for DOX:AWARD, [[CPH:DOX]] * Nominated for Best Screenplay, [[Vancouver Film Critics Circle]] * Nominated for Best Documentary, Music, Camera, [[Swiss Film Prize]] Nominations. * Nominated: Best World Documentary, [[Jihlava International Documentary Film Festival]]. |- | 2018 || ''Becoming Animal'' || 78 min. feature documentary. || * Nominated for Fugas Feature Film Competition, Documenta Madrid * Nominated for Grand Prix, Docs Against Gravity * Nominated for Best Feature, Bildrausch Filmfest * Nominated for Best Feature Documentary, [[Edinburgh International Film Festival]] * Nominated for Best Testimony on Nature, [[Jihlava International Documentary Film Festival]] * Nominated for DOX:AWARD, [[CPH:DOX]] * Official Selection – Masters, [[International Documentary Film Festival Amsterdam]] (IDFA) |- | 2025 || ''[[While the Green Grass Grows: A Diary in Seven Parts]]'' || 420 min. feature documentary || |}
===Short films===
*''Reverie'' (1976), 20 minutes. *''Lancalot Freely'' (1980), 20 minutes. *''Gregory'' (1980), 25 minutes. *''Balifilm'' (1997), 30 minutes. Best Short Film, Duisburger Filmwoche. *''Away'' (2007), 3 minutes. Co-produced by the [[National Film Board of Canada]]. *''Trace of the future'' (2014), 3 minutes. Produced by [[Visions du Réel]], to celebrate the festival's twentieth anniversary.
===Cinematography (selected)=== *''Open House'' (1982), directed by [[Atom Egoyan]]. *''[[Next of Kin (1984 film)|Next of Kin]]'' (1984), directed by Atom Egoyan. *''David Roche Talks To You About Love'' (1985), directed by [[Jeremy Podeswa]]. *''Knock Knock'' (1985), directed by [[Bruce McDonald (director)|Bruce McDonald]]. *''Passion A Letter in 16mm'' (1985), directed by [[Patricia Rozema]]. *''[[Family Viewing]]'' (1987), directed by Atom Egoyan. *''Artist on Fire'' (1987), directed by Kay Armatage, with [[Joyce Wieland]]. *''Leda and the Swan'' (1997), directed by Alexandra Rockingham Gill. *''[[Krapp's Last Tape]]'' (2000), directed by Atom Egoyan. *''[[Manufactured Landscapes]]'' (2006), directed by [[Jennifer Baichwal]]. Also credited as creative consultant. *''Into the Night'' (2006), directed by Annette Mangaard. *''National Parks Project: Gros Morne'' (2009), directed by Ryan J. Noth. Series pilot. *''Broken Land'' (2014), directed by Stephanie Barbie & Luc Peter. Also credited as artistic collaborator.
==References== {{Portal| Biography }} {{Reflist}}
==Further reading== *White, Jerry, ''Of This Place and Elsewhere'', (Toronto: Wilfrid Laurier University, 2006). {{ISBN|0-9689132-5-3}} *Pitschen, Salome, Annette Schøonholzer, ''Peter Mettler: Making the Invisible Visible'', (Lucerne, Switzerland: Verlag Ricco Bilger, 1995). {{ISBN|3-908010-93-4}}
==External links== *{{official website|http://www.petermettler.com/}} *{{IMDb name|0582650|Peter Mettler}}
{{Peter Mettler}} {{Authority control}}
{{DEFAULTSORT:Mettler, Peter}} [[Category:1958 births]] [[Category:Living people]] [[Category:Canadian cinematographers]] [[Category:Film directors from Toronto]] [[Category:English-language film directors]] [[Category:Upper Canada College alumni]] [[Category:Toronto Metropolitan University alumni]] [[Category:Directors of Genie and Canadian Screen Award winners for Best Documentary Film]]