Thomas Renoldner

Don’t Know What combines elements of mainstream cinema, like an entertaining dramaturgy, slapstick-like surprise effects, etc., with strategies of avant-garde cinema, like the short-cut technique or the formal and aesthetic reduction of the imagery. The audience is then left to find their way between humour and seriousness in this strange “genre-hybrid”.

Using single-frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally abstract film. The author transforms language into music, turns his voice into a drum machine, and his body becomes a surreal fantasy with a dozen arms and impossibly wild movements. 

Using single-frame editing, primarily focused on sound, the realistic film image transforms into a surreal, structuralist and finally abstract film. The author transforms language into music, turns his voice into a drum machine, and his body becomes a surreal fantasy with a dozen arms and impossibly wild movements. 

Don’t Know What combines elements of mainstream cinema, like an entertaining dramaturgy, slapstick-like surprise effects, etc., with strategies of avant-garde cinema, like the short-cut technique or the formal and aesthetic reduction of the imagery. The audience is then left to find their way between humour and seriousness in this strange “genre-hybrid”.