Being a production designer, Niko Matul shaped the spaces that hosted a major part of Slovenian film history. His filmography includes the films Don't Whisper, The Feast, Dance in the Rain, Kekec's Tricks, Blossoms in Autumn, Little Shepherds, Fear, The Widowhood of Karolina Žašler, Hang on, Doggy, Real Pests, My Dad the Socialist Kulak and many others.

"After 1950 when he began working in production design, Matul became committed to film passionately. He excelled at creativity, expertise, precision, reliability, versatility and strict work ethics. He set the highest criteria for himself and his colleagues could rely completely on him to attend to all the aspects of film production design," said Metka Dariš, exhibition curator from the Slovenian Cinematheque, in the catalogue accompanying the exhibition.

Matul implemented several collaborations with directors Matjaž Klopčič, Boštjan Hladnik, France Štiglic, Jože Babič, Jane Kavčič and Jože Gale. He also worked with František Čap, Mirko Grobler, France Kosmač, Vojko Duletič and many others. Alone or in cooperation with other production designers, he created the sets for 31 Slovenian feature films, 12 short as well as 28 television films, dramas, series or other TV shows. However, it was not only Slovenian films that benefited from Niko Matul's knowledge and skill. He was also production designer and contributor to 22 coproduction and foreign feature films recorded in Yugoslavia of the time or abroad.

In his own words, his contribution to all these films was the best schooling possible. He also used his experience in his efforts to professionalise technical film occupations, particularly those responsible for the visual image of the film. He was also striving for production designers (and all other contributors to the film) to be named consistently in film credits, promotional materials and elsewhere. This was not due to self-appreciation or seeking acknowledgement, but because he believed that only through their standing and general awareness about the importance of film occupations and expertly trained film workers it would be possible to preserve and upgrade the basic standards of film production that had been reached by then.

For his work, Niko Matul received numerous awards, including seven Golden Arenas at the Festival of Yugoslav Feature Film in Pula – which is more than any other Yugoslav production designer.