The male midlife crisis has always been rich fodder for comedy. And now this particular theme has a contemporary gem from — of all places — Estonia. The Temptation of St. Tony starts by quoting the first words from Dante’s Inferno: “In the middle of the journey of our life, I came to myself in a dark wood where the straight way was lost.” Middle is the operative word here. Tony is not only middle-aged, he’s also in middle-management. But an absurd car accident at the scene of his father’s funeral procession sets off a surreal set of events that makes Tony second-guess all of his pedestrian assumptions about life. That Estonia’s immediate northerly neighbor is Finland seems to be more than mere coincidence; the deadpan black comedy employed by director Veiko Õunpuu is highly reminiscent of the Finnish master Aki Kaurismaki’s works. But Õunpuu is no mere lightweight copycat. His style does indeed show easily discernible influences from the auteurs of the coldest regions of Europe — Bela Tarr, Roy Andersson and Sharunas Bartas are all touchstones, along with the aforementioned Kaurismaki. But Õunpuu expertly mixes all of his influences together into a unique style of his own. And just when we might think that Õunpuu may have exhausted his bag of tricks, he surprises us with a cameo appearance by Denis Lavant sporting a miniature accordion, and stuns us with a denouement certain to make Peter Greenaway proud.