Tony (Taavi Eelmaa) is trapped in a Kafkaesque nightmare in Veiko Õunpuu’s THE TEMPTATION OF ST. TONY
THE TEMPTATION OF ST. TONY (PÜHA TÕNU KIUSAMINE) (Veiko Õunpuu, 2009)
Cinema Village
22 East 12th St. between Fifth Ave. & University Pl.
Opens Friday, September 17
212-924-3363
www.thetemptationofsttony.com
www.cinemavillage.com
An absurdist morality tale of good and evil, Veiko Õunpuu’s THE TEMPTATION OF ST. TONY is a sly, ironic black comedy about one poor man’s search for compassion. Taavi Eelmaa gives an extraordinary performance as Tony, a middle-aged factory manager unable to find happiness in his mundane life, even as it is turned upside down after he runs over a dog, finds a bunch of human hands in a swamp, rescues a woman in a wedding dress, discovers that his wife is cheating on him, and speaks with a priest who has some very odd ideas — and some very strange powers. Estonian director Õunpuu’s second film, the follow-up to his highly praised, award-winning AUTUMN BALL (2007), THE TEMPTATION OF ST. TONY is an existential journey through a bizarre cinematic landscape that would make such auteurs as Jim Jarmusch, Federico Fellini, Aki Kaurismäki, David Lynch, and, of course, Ingmar Bergman proud (as well as Kafka and Dante). Filled with religious and sexual imagery and shot in captivating black and white by Mart Taniel, the film opens with the question “Why does man exist?” then proceeds to take audiences through the same dark forest that encompasses Tony’s ever-more-incongruent life, not necessarily offering any answers but instead heaping on a never-ending stream of complexity and confusion. THE TEMPTATION OF ST. TONY is an absolute treat for adventurous filmgoers looking for something very different.
When her parents and older brother go to Africa without her, an unnamed ten-year-old girl (Blanca Engström) must grow up fast in her small Swedish hometown. The girl was supposed to travel with her family to help people in need in Africa, but when it is discovered at the very last minute that she is too young, her mother (Annika Hallin) and father (Shanti Roney) decide to head out on their mission anyway, leaving their daughter in the hands of the mother’s untrustworthy sister, Anna (Tova Magnusson-Norling), who drinks and parties a lot and soon takes off to spend time with her lover, leaving the girl alone. At first the girl is able to fend for herself, but as more time passes, troubles begin to build and danger awaits. Written by Karin Arrhenius and directed by first-timer Fredrik Edfeldt, THE GIRL is a compelling, unusual coming-of-age film; it is not about a girl exploring her burgeoning sexuality, nor is it the story of a shy girl emerging from her shell. Instead, it’s a moving, believable tale of one young girl learning that she’s not always going to be able to rely on adults, a harsh lesson for any child. Nearly all the grown-ups in the film, from her aunt and parents to one of her friend’s fathers (Leif Andrée), never fully understand the girl’s needs and wants, making wrong assumptions that result in far too much for her to handle on her own. Engström is mesmerizing as the young girl, often convincing the audience of her vast abilities until it once again becomes clear that she is only ten years old, a far cry from being able to take care of herself. THE GIRL is a small gem.
