DONT KNOW WHAT (8 min, 2019) - 45 sec. Trailer

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DONT KNOW WHAT
a slapstick avantgarde film by
Thomas Renoldner

January 2019 / 8 min
DCP 4K / dolby 5.1

Production format: RED video
Techniques used: single frame editing of image and sound
Screening format: DCP-4K

Concept, Direction, Animation, Music, Actor, Producer: Thomas Renoldner
Camera: Ludwig Löckinger
Sound recording: Adnan Popovic
Set assistent: Sophia Egger-Karlegger
Sound-design, color grading: Andi Haller

Financial support:
Bundeskanzleramt (Federal Chancellery of Austria,
Division for Arts and Culture)
State Government of Upper Austria - Cultural Dept.

Thanks to:
Academy of Fine Arts Vienna
Photo Laboratory - for the studio
Media Laboratory - for camera and light
Animation Laboratory - for editing equipment

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FESTIVAL SCREENINGS:

DIAGONALE, Graz, Festival of Austrian Film (A), 18. - 24. march 2019

GLAS Animation Festival, Berkeley (USA), 20. - 24. march 2019

CROSSING EUROPE Filmfestival, Linz (A), 25. - 30. april 2019

FLATPACK Festival, Birmingham (UK), 30. April - 6. may 2019

ANIFILM 2019 - International Festival of Animated Film, Trebon (CZ), 7. - 12. may 2019

ANIMAFEST Zagreb - World Festival of Animated Film (HR) - 3. - 8. june 2019

ANNECY Festival - International Animation Film Festival (F) - 10. - 15. june 2019

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A few words about my film:
- when art and entertainment clash -
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After the big success of SUNNY AFTERNOON (which you can watch here on my vimeo channel) I decided to continue experimenting with short-cut editing of simple movements of myself in front of a camera. I also decided to edit the sound frame by frame, parallel with the image.

And, since I had made really different experiences concerning the reception of SUNNY AFTERNOON in my home country Austria compared to e.g. Canada (the film was shown at the opening of Ottawa Animation Festival 2012) my main focus was the question:

How much entertainment is possible in avantgarde film ?

My aim was to make a serious experimental film, but which at the same time should be entertaining and therefore could also reach a larger audience.

Other important aspects were e.g. my interest in the human voice and experimenting with the sound. So I regard this work also as a musical composition in three parts.

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