Püha Tõnu kiusamine

Another unique film by the Estonian director Veiko Õunpuu. Too bizarre in some places near the end, but still a very emotional and deep picture. Like in his last film 'Sügisball' ('Autumn Ball'), many scenes feel fresh and inventive. Which is a very rare thing these days.

A film that follows the travails of a middle management guy through a black-and-white Estonia, leading from funerals to swamps to theatres, from dinner parties to ruined churches and a cannibal cabaret nightclub.

This is an unusual and original film... whilst it has echoes of film-makers such as Roy Andersson or Bela Tarr, it is also clear that Ounpuu has his own original voice to develop. In a few places the surrealism or absurdism seemed, to me, a bit forced or self-conscious,but in many places the film is truly unique, funny, disturbing, odd, dreamlike and poignant. An unhoned, rough talent maybe, but a big one.. I'll look forward to his next film...

I think it's an awesome film. I watched it twice, a few months apart. Gotta let the first watch settle I guess.

Tony is a decent guy but the world he lives in has some values that are crappy. Well, that's our world isn't it. Should we give to the poor person who bothers us? While we're having a fine time in our nice homes.

Who is cheating on who, mistrusting wife says to doubting husband. His lover finds him nice, and her father is a miserable man.

Bur none of this prepares you for the final third of this movie when he goes to a strange club after his girlfriend is kidnapped and taken there. Things get real strange then, and the last part of this movie is terrific and bizarre.

I have to agree with all of the previous Positive reviews (only 6 right now...) with the references to Roy Anderson, Kubrick, Buñuel and Tarkofsky - I also thought superficially of Eraserhead by David Lynch. Shot in black and white, except for his Bentley and modern house, this film looks like it could have been made in the 1960s. A masterful effort, disturbing but with "painterly" composition and good acting. Some of the references, religious and otherwise (like a black dog he accidentally hits with his car, then reappears alive, only to be killed by his wife), escape me, but I would definitely see this a second time. I'm amazed a film like this can be so ignored and unknown.

Bizarre and beautiful, disturbing and droll, "The Temptation of St. Tony" wonders what it means to be a good man by questioning the very foundation of morality in a world dominated by nihilistic ideas.

"«The Temptation of St. Tony» is a harrowing, often darkly comic nightmare, studded with allusions to art, literature and film."

Veiko Oonpuu's bold, contemporary update of the stations-of-the-cross genre more than lives up to the promise of his 2007 debut, Autumn Ball. Nods to filmmakers Bergman, Fellini, Bunuel, and Tarkovski aside, with a wink at such cultural icons as Bosch, Flaubert, and Blake, his imprimatur is on every frame of this delicious black-and-white prestige product.

As universal as its theme is, The Temptation of St Tony is also grounded in a specifically Estonian geographic and political landscape. (The near-naked protagonist wraps himself in the Estonian flag at one point for protection against the cold.)

In spite of a firm directorial hand, Ounpuu is a collaborative artist. He fuses Taniel's stunning cinematography (many of the exteriors feel primeval), a haunting soundscape, and Krigul's diverse original score into a substantial vision of man's metaphysical dilemma, one that provides Eelmaa a conduit in which to play out his magic.