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This warning is as old as time: do not go into the forest at night. Eyes of the Forest lends this advice extra credence. The opening scene is a punch to the gut. The first five minutes evoke different emotions: such as fear, shock and guilt. They lay the foundation of this supernatural horror.
The action takes place in rural Estonia during the 18th century. Johan (Stefan Hein) enters the forest at night on his own. He encounters a mysterious girl (Haldja Semjonova), and then suddenly goes missing. Elo (Maarja Tammemägi; this is a female Estonian name) sets out to discover what happened to Johan, and his current whereabouts. But nothing is as simple as it seems. Her fellow villagers don’t inspire trust at all.
The director plays with the colours for narrative purposes. During the day, they are mostly pale, neutral and bright, conveying a sense of innocence. At night, faces are grey, and characters are barely discernible. It is only when these people are in the safety of their homes that we see a sliver of colour, representing hope. A crackling fire is both loud and warm, adding an extra texture to the proceedings. The period costumes are very thoughtful.
The lead performances are the true highlights of this movie. Tammemägi’s character is fearful yet persistent, and riddled with anxiety, while Hein’s is stern and determined. The music score, on the other hand, isn’t entirely fit-for-purpose. The sounds grow as the tension rises and the supernatural elements are introduced. The sung parts, however, serve as a distraction. A shocking twist and unsettling scenes raise more questions than answers, ultimately leaving viewers feeling empty. The final denouement is designed to evoke gut-churning reaction. Instead, it falls flat on its face and throws the plot of an other satisfactory film off-course.
Eyes of the Forest shows in the PÖFF Shorts section of the 29th Tallinn Black Nights Film Festival. This review was written as part of the Film Review Workshop conducted on November 9th, 2025.