Anna, an artist, is obsessed with the invasion of alien doubles bent on total destruction. Her schizophrenia is reflected in the juxtapositions of long movie camera takes with violently edited montages.
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Once again a remote idea of doppelganger theme, which introduces a conceptualisation that reminds the magnificent "Syntagma", being a theoretical explanation of narrative techniques - see the sequence of the dream, with the projected images in a screen, diluted in the structure of the film. Like some Jelinek's texts, with whose her feminist and anti-Austria attitude is related, the film is somewhat worn by time.
Artifact of its time meant to illustrate in the bluntest possible manner the fad psychological, social, and art theories of the day, which artists in so-called developed nations still groan beneath forty years later: you get your deconstructionism, your Freud, your critique of the male gaze and patriarchy, your political radicalism, your postmodernist play, your performance art, etc. Assuming you want these things.
I enjoy Valie Export's radicalism in both her thematic inspections and formal incisions, if I can label her cinematic schema with such antiseptic terms. The sociological terrain in which she mucks about is 40 years ago in urban Europe, and though Invisible Adversaries remains interesting for its
I really liked the ending. The final image of Anna is characterized by defeat and struggle. That she is going to bed is a symbol of regeneration yet, clad in a mountaineering outfit she is ready to overcome whatever it takes.