Fist Fight, unlike any other of Breer’s films, is autobiographical. In it he contemplates and manipulates still images from his past in what is apparently a moving family album. Black-and-white photographs of his wife as a girl, of himself at his work table, of children, a wedding party, and many friends and personal scenes are scrambled together with fragments of cartoons (including a quotation from Horse Over Teakettle), a handwritten letter passing too fast to be legible, fingers, a bare foot, a mouse in a cartoon trying to turn on a lamp, and a real mouse falling through black space - to isolate a few of the more striking images. …The personal material blends into the animations and fragments without assuming a privileged emphasis. At times it seems as if they were not personal pictures at all, but simply the most convenient photographs for a film intensely determined to explore further ambiguities of stillness and motion, painterly surface and illusory depth.

P. Adams Sitney from Visionary Film, Oxford University Press, pp. 278-279