Market to Market (1987), as a New Age customer in his own Lust and Revenge (1996), and the shorts The Liver and To Music (both 2013). He appeared as himself in Peter Watkin's The Media Project. Critical response John Larkin, in his introduction to Tales from the cancer ward writes that "Cox could have gone the Hollywood way. But he has kept his distance from producers, whom he considers predatory as they dominate the industry. He is very critical of what he sees as their betrayal of a once great art, cinema, into a crude kind of consumer culture. He has fought hard to stay independent, choosing to make films about people's inner lives, rather than the ephemeral world in which appearance is everything: the great glamour, the great illusion. His company is called Illumination Films. The Cox collection has longevity. His major films [will] continue to feature overseas and in Australia." Actor on several Cox films David Wenham considers that; "There is no one like Cox. He is unique, and we need him, and people like him. I watched Molokai a little while ago: it's unmistakably a Paul Cox film. He is completely an auteur, because everything you see on the screen, and hear, has got Paul's fingerprints all over it. Ninety per cent of his take on the world, I would agree with." Victoria Duckett, in evaluating the references to a painting by Titian in Cox's Man of Flowers, and evoking Cox's migrating to Australia by sea, sees a European Romanticism at work: "From this perspective, Cox’s Romanticism is uniquely Australian. By putting himself into the picture and putting the sea back into the frame, he explains our physical and metaphysical place in the world." In a contrary view typical of much Australian criticism of Cox, Vikki Riley in a 1995 Filmnews condemns such "Europhile fetishes with lost connections and individuals' fragmented and uprooted lives - where the act of remembrance is a Proustian sensory pulse which unveils a seemingly bottomless pit of an inner narrative world driven by languid melancholia, inevitable destiny, missed opportunities and the heavy clouds of war," as precisely "the sorts of passions avoided by Australian filmmakers, save for the whining cultural cringe expressed in the works of Paul Cox, Ian Pringle, et al." Publications Cox, W., & Cox, P. (1997). Ich bin. Pulheim/Köln: Schuffelen Autobiography Reflections: An Autobiographical Journey in 1998. Photography books