The Temptation of St. Tony (Püha Tõnu kiusamine) (2010)
The Temptation of St. Tony (Püha Tõnu kiusamine) Photos
as Count Korzybski
as Tony's Wife
as Herr Meister
as Kleine Willy
as Actor's Wife
as Tony's Boss
as Urbo's Wife
as Tony's Daughter
as Nadezhda's Father
as Meister's Henchman
as Lying Woman
as Uncle Vanja
as Fellow Traveler
as Chief Constable
as Fence Builder
as Fence Builder
as Tony's Mother
Critic Reviews for The Temptation of St. Tony (Püha Tõnu kiusamine)
Full of extreme imagery and offering many darkly satirical touches, this Estonian picture brings to mind the work of Luis Buñuel, David Lynch and Ingmar Bergman.
The Temptation of St. Tony becomes a harrowing, often darkly comic nightmare, studded with allusions to art, literature and film.
Õunpuu's orchestrations and barbed surprises, which greatly depend on cinematographer Mart Taniel (and various Estonian theater vets), hold continued promise.
It's tempting to call this stunning sick joke the work of a true visionary.
Audience Reviews for The Temptation of St. Tony (Püha Tõnu kiusamine)
What a malicious and illuminating journey to the depths of hellish beauty! That's a paradox alright but how can you explain Õunpuu's essay on the culmination of ideals, of anticipations and of obsolete dreams in any different way? A higher quality film than any Tarr of the 2000's and by applying a semi-Lynch universe in the black and white disturbance, I don't think anyone would really care that the plot's vignettes are over-represented and the abruptness of things defies the superlative characters. It's what it is and subjective interpretation is required when you're dealing with Estonian landscapes. After all, we're all gonna die at some point, poor Tõnu simply happened to preserve a slice of cynicism more than the rest of us.
Enthrallingly surreal, avant garde meditation on the essence of goodness about a mid-level executive whose grip on reality begins to fade as he becomes the subject of a series of bizarre occurrences, is a unique mind bender. With its haunting dream sequences and beautiful black and white cinematography, it feels like a cross between the work of David Lynch and Guy Maddin.
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