Der unabhängige Film hat ja für viele Fernsehzuschauer und Kinogänger manchmal so ein Geschmäckle von schwerverdaulicher Kost oder sogar Schund. Aber diese kleinen Perlen der Leinwandkultur haben durchaus ihren Reiz und finden ein begeistertes Publikum.
{SAT.1 Regionalreport, Baden-Württemberg, Sendung vom 04.01.96}
For many viewers of TV and cinema, independent film is indigestible or even trash. But these little pearls of screen-culture are quite appealing and attract an enthusiastic audience.
{SAT.1 Regional Report, Baden-Württemberg, Originally broadcast on Jan 4th, 1996}

Das grosse Selbstportrait des Berliner Filmemachers mit allem was dazugehört. Ein bisschen Selbstdarstellung, bisschen was Schwules und das Ganze ist absolut unverwechselbar und langweilig sowieso nie.
(Schwenninger Kurzfilmfestival, Programmheft - November 2003)

Thus, although in his experimental films, Brynntrup puts himself on display, nothing is revealed about his intimate self. Some of his other short films that purport to reveal an autobiographical self but thwart any prurient interest on the part of the viewer are: 'E.C.G.1.0.1 (a self-portrait in broadcast and artistic media)' (2002), 'Loverfilm--An Uncontrolled Dispersion of Information' (1996), and 'The Statics—Engineering Memory Bridges' (1990). The performance and camouflage of the subject are likewise reflected in a number of films that star drag queens, such as 'The Ovo' (2005), 'NY ‘NY’n Why Not' (1999), and 'Love, Jealousy, and Revenge' (1991). Brynntrup reminds us that, in this era of the technoterrain, gender is just as virtual as the e-medium and equally obeys the economy of the simulacrum. His fundamentally anti-identitarian projects consequently expose rather than participate in the self-absorption and exhibitionism of the Facebook generation and the facile voyeurism generated by it.
(Alice Kuzniar, "Michael Brynntrup’s Cinematic Antidote to Yellow Fever", In: GELBFIEBER, Catalogue of the Exhibition, HBK Braunschweig, May 2012)