His films like 'Antichrist' and 'Melancholia' use harsh, exposing light to reveal psychological darkness and the destructive forces lurking beneath surfaces.

In works like 'Stalker' and 'Mirror,' he employs natural and artificial light as a metaphysical force that both illuminates and destroys human consciousness and memory.

His minimalist use of clinical light in films like 'Funny Games' and 'The Piano Teacher' creates an atmosphere where exposure and visibility become instruments of psychological violence.