Surrealism, Comedy, and AI with RIOTS Director Annegret von Feiertag

A potato tumbling across a table in slow motion; a punk band playing in a sea of poppies; a hippie Cupid conjuring up an AI-generated Lovetopia – a dip into the portfolio of RIOTS director Annegret von Feiertag reveals all sorts.

The experiences of her varied career – including stints as an art director, mood scout, illustrator, motion designer, and more – are channelled into her directorial style, culminating in visuals bursting with vibrant creative flair and a unique sense of humour that unites the surreal with the everyday. 

The surrealism is intensifying, as Annegret’s experiments with still and moving AI images push her artistic sensibilities to new heights. One of the strangest films in her computer-generated collection is the chronicle of a futuristic stapler after it’s beamed down upon a man’s desk in the year 1866. Spoiler alert: its rapid and unsustainable development across decades transforms it into a symbol of humanity’s hubris.

Now, the German director is bringing what she calls her “short stories with a wink” to the Polish commercial market through production company, RIOTS. To find out what lies in store for the Poles, LBB’s Zara Naseer caught up with Annegret.

Above: Dinnerly 'Ducchess'

LBB> Thanks for taking the time to speak to LBB, Annegret! You’ve got a colourful background, having worked as an art director, mood scout, illustrator, motion designer and more. How does all that experience feed into your style and approach as a director?

Annegret> Hey LBB (: Thanks for having me. When I shoot it’s pretty helpful to have a clue about all those things. (Can be a pain in the neck also because I tend to take over lots of tasks in prep, like layouting preproduction meeting decks because I want them to be pretty.) My origin in graphic design also helps with framings and colour combinations, but in the end it’s that good old gut feeling that decides most of the creative questions that are coming up in the projects. And… all these skills provide a financial safety net when I'm not directing.

LBB> Let’s get to know your work. What project are you most proud of, and why?

Annegret> Last year we shot a music video on 16mm with a steadicam in a poppy field. My friend (the singer of the band called Sex Beat) asked me to come up with a concept for the song ‘Tillie’. It came to me super quick: we need a dancer, we need a poppy field and a mirror stage. When the DP Mario Krause came around with the idea to shoot on film the concept was whole. This one really touched me.

Above: Sex Beat 'Tillie'

LBB> And what about your most ambitious or challenging project? Tell us a bit about the hurdles you faced during production and how you overcame them.

Annegret> Here I can also mention that music video because the team was so small and the monitor wasn't working... I couldn't see anything that we were shooting except one screen grab from Sarah Alisch’s screen. She did steadicam. Not seeing anything before the film was developed made me really nervous! (And it was hot and we were standing in that poppy field the whole day…)

LBB> In an era where we could all use a laugh, you pour plenty of comedy into your work. How would you describe your brand of comedy, and what do you think is the key to making people smile?

Annegret> For me, comedy is found in the nuances of everyday life. While I appreciate broad comedy, I'm personally drawn to subtle, relatable humour. I guess the key to make people smile is with identification. So I soak up situations I lived through and put them into my work. The other thing is: timing. Timing is key! (To me, good timing can also be something that is wayyy too long on screen. Like a potato rolling for 10 seconds in a 25-second spot.) 

LBB> It’s clear you don’t shy away from emerging technologies. How do you incorporate them into your work, and what particular hopes or fears do they inspire in you?

Annegret> I came across those hot new tools last year (when I was sitting around with no jobs to shoot) and started trying things according to the motto: fascination of horror. I couldn't believe how fast those bots came up with images, videos, voices... music!? So I did a film in a couple of days just sitting on my ass (and staring at a screen). Crazy, huh? Since then, I’ve put that fear aside that AI is taking my job and use it to help me on my tasks. I mean, those tools won't help you when you don't have ideas, a clue about filmmaking or at least taste. 

In May we shot a really sweet film for Parship and used lots of AI tools. It would’ve never been possible to make a film like that in that budget range. We shot the actor in a greenscreen studio and the rest was compositing. I love the fluffy world we created. And I love that films with a lovely message like this can look super cool now. 

On a ‘daily’ basis I use AI mostly to help me with animatics because it’s really helpful to know how many shots fit into 15 seconds. I test animations on shot footage and lately I asked chatGPT for a skincare routine for the products I bought.

Above: Parship 'Lovetopia'

LBB> What kind of work gets you the most excited and passionate?

Annegret> Films for a good cause and music videos. Because they offer the most freedom to create whatever I want to. (Except the budgets ;))

LBB> Where do you get your inspiration from? Any particular people or places?

Annegret> Looking at people in public places. I walk a lot and now I walk even more because I adopted a dog. This opened up a whole new universe of people watching and on top: interacting. You get to talk to people you would never get a connection with. Helps with studying characters a lot. And when I have a creative puzzle to fix but I can’t come up with something, I leave it aside for the moment, go to bed, and the idea hits me in the morning shower. Works every time!

LBB> You’re now represented by RIOTS in Poland. What drew you to the company and the market? How is it different to other markets you’ve operated in, and what are you hoping to achieve there?

Annegret> Tomek Kozera, RIOTS founder and EP approached me after my friend Julia Mücke recommended me to them. That call was sweet and the prospect of expanding into the Polish market intrigued me. My goal is to bring my skill set and unique storytelling style to the table, creating work that not only resonates locally but also has the potential to make an impact globally. I believe the Polish market offers plenty of room for bold ideas and fresh perspectives, which is something that works everywhere, regardless of the country or different market needs.

LBB> If you could speak to your younger self, when she was just starting out upon her path as a director, what advice would you give her?

Annegret> I started seven years ago and was already over thirty… Anyways, I would say: wear sunscreen religiously, and don't worry girl. Everything will happen as it’s supposed to. (And nobody will notice that you don't have a clue what you're doing!)

LBB> What’s next in the timeline for you? And thinking further into the future, do you have any bigger ambitions you’re looking to chase?

Annegret> While I'm not one to chase excessive ambition, directing a Super Bowl commercial or two in the coming years wouldn't be a bad way to go.