The plot is straightforward enough in order for the viewer not to get too distracted from spotting the entertaining details that pop up in tandem with its development. Such an approach elicits a feeling of Brechtian alienation on the one hand, making one ponder the conceptual idea behind this whole absurdist spectacle, while on the other whispers in one’s ear that one should really stop taking everything so seriously and simply enjoy the whimsical happenings on screen. Moreover, in The Invisible Fight, Sarnet uses stop-motion animation to great comic effect, such as when characters move along to the rhythm of the soundtrack and when we glimpse the hilarious sight of flying monks, while in other scenes, the mere act of blinking is accompanied by sound in a cartoon-like fashion. Perhaps it’s his background in animation that informs this tireless juggling between graphic styles and genres – a game that he clearly enjoys, reaching a loftier and more imaginative level with every passing film. L-r: Rein Oja, Ursel Tilk and Kaarel Pogga in The Invisible FightĪfter applying a Fassbinder-esque touch to Dostoyevsky’s philosophy in his debut feature, The Idiot (2011), and mixing up Baltic folklore and gothic grisliness in November (2018), in his latest fiction work, The Invisible Fight, freshly presented in the international competition of the Locarno Film Festival, Estonian helmer Rainer Sarnet deploys an explosive mix of kung fu, heavy metal and Orthodox Christianity, with snippets of the Soviet Estonian reality looming on the horizon.
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