Armand

The film is named after a primary school pupil Armand whose mother Elizabeth is invited to the school with regard to the incident that happened between Armand and another pupil. The other pupil's parents appear as well, and little by little we discover what happened, or, to be more exact, we discover that the whole story is confusing and extremely complex. The genre is dancing between a drama (yes, at times it seems overly dramatic), a thriller, a detective story and even a musical. There are various cinematic ideas used really curiously to show moments of helplessness, confusion or fear. All in all, the film ends leaving us with more questions than answers. I'd definitely recommend this one to everyone who likes experimental cinema.

Greetings again from the darkness. Accusing someone, anyone, of something or anything, is as easy as speaking the words. The challenge of justice unfolds with the (often) difficulty in finding sufficient evidence for proof. Although all of this holds true for any age and most any infraction, when the scenario plays out with six-year-olds at school, the situation can prove nearly unbearable for the parents and faculty. This is the basis for the first feature film from writer-director Halfdan Ullman Tondel (grandson of Norwegian actress Liv Ullman and legendary Swedish director Ingmar Bergman).

Elisabeth, a well-known actor, is on the phone with her son Armand, "I love you. Do you love me?" She is rushing to attend an after-hours meeting that's been called at her son's school. She has no idea of the topic. Her heels clack against the tile floor in the school hallway as she steams towards the assigned classroom, unprepared for the ambush awaiting behind the door. Demure teacher Sunna (Thea Lambrechts Vaulen) is reluctantly running the meeting. The other two parents in attendance are Sarah (Ellen Dorrit Peterson, THE INNOCENTS, 2021; THELMA, 2017) and her husband Anders (Endre Hellestveit). Sunna explains that Armand is accused of highly inappropriate action towards Sarah and Anders' son. Elisabeth is shocked and can't believe any 6-year-old, much less her Armand, would perform such an act.

The tension in the room is extreme and becomes heightened as more of the story is revealed. There is an existing relationship between these two parties, and a recent personal tragedy has created a rift that might never heal. We understand how Elisabeth could presume the accusations are retribution for the previous events, and as viewers, we are caught off-guard by these connections. Malfunctioning fire alarms periodically interrupt the proceedings, and we can't help but wonder if false alarms are the real theme of this story. Still, the accusations are such that some type of discussion is merited.

Soon two additional school officials join the meeting. Ajsa (Vera Veljovic), battling a recurring bloody nose tries to keep the peace, while principal Jarle (Oystein Roger) is most concerned about the school's reputation and lack of formal procedure. Filmmaker Tondel includes some surreal sequences that lead to a panic attack, and mostly what we see are adults who can't agree on how best to handle the awkward situation ... or even if there is a situation to handle. Elisabeth is played brilliantly by Renate Reinsve, who proves her amazing performance in THE WORST PERSON IN THE WORLD (2021) was no fluke. She has a scene of uncontrollable emotions that generates true discomfort for those in the room, as well as those of us watching.

This was Norway's Oscar submission for Best International Feature, however it did not land a nomination. Still, it's a different kind of drama meant to display the power of emotions and stress as it urges the viewer to decide not just how they would react on either side, but also what would be the proper manner in which to handle the situation.

Opens in theaters on February 7, 2025.

I can see why it won the Camera d'Or at Cannes 2024 but for the love of my life I could not follow the film after midway. A single celebrity mother is called to his son's school by an incompetent teacher and admin duo to discuss an incident involving his son and his friend. It's a great premise and Armand had my rapt attention, also thanks to the fabulous opening shot and overall camera work till then. But then it meanders into self-pleasure territory and I still have no idea what the director intended, with a melange of abrupt dance sequences and an actor laughing for 3 minutes in a stretch. That's where it all started and the whole affair gets frustrating thereafter to never recover.

(Watched at the 2024 MAMI Mumbai Film Festival.)

The debut feature film of Halfdan Ullman Tønder, grandson of Ingmar Bergman and Liv Ullman, is a partly allegorical, partly naturalistic dissection of 21st century parenting and educational system, and their handling of an "unfortunate incident" between two 6-year-old boys. Renate Reinsve is the eccentric mother of Armand, the alleged perpetrator in said incident, and as she finds herself scrutinized by her son's teacher, the school administration and the parents of the other boy, the film slowly descends into an interrelational abyss - a limbo from which no good things can ever emerge. Ullman Tønder's purpose and position are strong, and so is his artistic expression, which is discernibly inspired by the works of his grandfather, and perhaps also to a degree by Kubrick. And although the narrative as such at times feels bumpy and the film unevenly edited, Armand is in many ways a return and homage to pure cinema, for which it should be hailed.

"Armand," the directorial debut of Halfdan Ullmann Tøndel, is an exercise in simmering tension and discomfort-a film that traps us, much like its characters, in a confined space to explore a deep emotional abyss. Most of the narrative unfolds in an empty Norwegian school, where a couple and a mother meet to discuss an incident involving their children. With its restrained approach and dialogue-driven focus, the film builds a solid foundation of psychological drama but doesn't always manage to sustain this balance throughout its runtime.

The first act is where the film shines brightest. Tøndel shows an impressive command of atmospheric tension, using loaded dialogue and minimalist performances to create an uncomfortably intimate setting. Renate Reinsve, in yet another magnetic performance, plays Elisabeth, a mother fiercely defending her son while grappling with layers of doubt and desperation. From the outset, she conveys a complex emotional range: laughter that turns into sobs, glances that seem to search for answers in empty corners. Ellen Dorrit Petersen and Endre Hellestveit also bring depth to Sarah and Anders, the parents of the supposed "victim" in the incident. They expertly navigate a tightrope between compassion and repressed hostility. This trio of performances elevates the narrative, giving weight to conversations that might otherwise feel ordinary.

The school setting becomes a character in its own right. Its dark hallways and lifeless classrooms mirror the characters' mental states, as if the building itself embodies their repressed emotions. This use of space is one of the film's strongest points, turning a simple location into a stage brimming with tension and symbolism. Tøndel makes full use of every corner to convey claustrophobia and isolation, suggesting that even in a room full of people, these characters are alone in their internal struggles.

However, "Armand" falters when it strays from its linear narrative and ventures into more abstract territory. While the transitions to visual and surreal sequences are artistically executed, they feel out of place within the realistic framework established early on. These moments of abstraction, no matter how visually stunning, dilute the film's emotional impact and make the story feel less cohesive. The tonal shift is jarring, as if the director is trying to overload an already idea-heavy film with an additional, unnecessary layer.

Even so, Tøndel's screenplay keeps the audience invested. The gradual unveiling of secrets, always teetering between the explicit and the implied, holds our curiosity. But this approach also requires patience, as the deliberate pacing can feel stagnant at times. The film flirts with climactic moments but never fully delivers on them, leaving the tension unresolved.

Despite its flaws, "Armand" is an ambitious debut that deserves attention. Renate Reinsve, in particular, delivers a performance that carries the film, balancing fragility and strength in a hypnotic way. The supporting performances and Tøndel's atmospheric direction also warrant praise, showing that he has a promising future in filmmaking.

Overall, "Armand" is an intriguing exploration of guilt, grief, and the complexities of human relationships that hits more often than it misses. However, its attempts to juggle too many styles and themes end up diluting some of the potency that could have been achieved with a more focused approach. It's the kind of film that lingers in your mind, sparking reflection-for better or worse-even after the credits roll.