APNOE (10', Austria, 2011)


Screened in Rotterdam, Upsalla, Sao Paolo, Hamburg, Semana de Cine Experimental de Madrid etc., APNOE describes, at a first level, an typical day in the life of a family. Yet, as they are confronted with a different type of gravity (being literally underwater), the protagonists have considerable difficulty in coping with their everyday life. The family ensemble becomes unstable and its hierarchical structure begins to dissolve. An absurd micro-drama, with slapstick comedy influences, talking about dysfunctions and lack of communication within the social nucleus which the family is supposed to be.


With the support of:


Screenplay: HARALD HUND

Cinematography: VIKTOR SCHAIDER




Production: HARALD HUND

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Director's contact: hund[at]haraldhund[dot]com



Born 1967 in Austria, HARALD HUND works as video artist and on computer based animation-film. He studied Newmedia at the Academy of Fine Arts in Vienna with Peter Kogler and at the University of Applied Arts with Isabelle Graw. Since 1998 he cooperated with Paul Horn on different projects. APNOE is the most recent project of their collaboration, a series of short films called “Living Space” which includes TOMATOHEADS, DROPPING FURNITURE and MOUSE PALACE. The whole series portrays human existence in absurd conditions. He also worked with Martin Arnold on “The Invisible Ghost/ Deanimated”, a film in which a legendary American horror movie of 1941 is subjected to a radical cinematographic surgery.


Rotterdam - Int. Filmfestival 2012 / Sao Paolo - Short Film Festival 2012 / Split - Festival of New Film and Video 2012 / Uppsala - Int. Short Film Festival 2012 / Bristol - Brief Encounters 2012 / Diagonale, Festival of Austrian Films 2012 / Hamburg - Int. Kurzfilm-Festival & No Budget 2012 / Madrid - Semana de Cine Experimental 2012 / Milano Aiace – Invideo 2012 / Nashville Film Festival 2012 / Osnabrück - European Media Art Festival 2012 etc.


“Normality is a matter of opinion. For the protagonists, the fact that their world has a fundamentally different “consistency”, at first, does not seem to interrupt their everyday routine. Superficially, everything runs normally in the (underwater) world of the Berger family, even when the head of the woman, one of the conservative parents, is nearly obfuscated by the toothpaste-spit-spray during her morning routine, or when the father has to perform a little acrobatic trick before enjoying his breakfast toast in order to grab hold of the floating slice. […] Yet, the largely wordless communication is a symptom of a society calibrated on ritual gestures and coded mimic expressions rather than a result of the living environment. The fundamental difference between a self-evident non-verbal understanding (when dancing and flirting, no words are necessary), and a lack of understanding resting on muteness (since there are no words for the important matters) becomes increasingly obvious. And also the daughter’s seemingly environmentally-conditioned motor activity can be interpreted on closer inspection as a counter-act to specific constraints and patterns. With this film, Hund & Horn draft a microdrama of sorts that by means of absurdity and slapstick, and first and foremost, without warning, scratches off the scab of a supposed holy world.“ (Irene Müller)