La Convocation

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.

"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.

From the grandson of Ingmar German and Liv Ullman, Halfdan Ullmann Tøndel has a debut that shows good potential but despite it's ambitious concept and strong moments, it fails to fully hold it's narrative and goes through a limbo.

The psychological drama and themes explored of school system and the battle of wits between people is a good concept, especially not knowing much from the European standpoint. With good camerawork and sound designs, it helps to create the claustrophobic setting and tensions. The performances from the cast, especially Renate Reinsve was great and felt realistic. Unfortunately, what makes the movie not work is the way the narrative is written and how bumpy it feels.

Many of the writing components have good concepts but it's surrealist approach didn't work, which ends up feeling repetitive and muddled as it continues. Making things a bit difficult to really understand or connect with the characters or finding them believable at times. Stories like these are movies I like but I can't really engage with it because of the muddled writing and repetitive nature. The direction from Tøndel is good but at some moments, the direction felt a bit misplaced and lost. Being heavy dialogue, the dialogue is a mix of both good and some not so good.

At it's core, Tøndel has a lot of talent as this movie does show his talents and potential of being a good filmmaker in the future. But there's a lot of work still to be done.

A mother, played by Renate Reinsve, is called to the school because of an incident involving her son Armand and his best friend.

Written and directed by Halfdan Ullmann Tøndel, the film offers a good premise, one that manages to capture your attention as well as its beginning when we share Elisabeth's intrigue as to what happened with her son. Once in the school, she meets with the other boy's parents and the school personnel, and information is delivered, allowing us to grasp the extent of the dramatic event Armand is accused of.

The problem with the movie is that a theme like this rarely allows for a runtime close to two hours. Sure, as long as the story progresses, it is clear its aspirations go beyond its initial premise. But the execution, the way to tell what it wants, is very ineffective and will keep you anxiously waiting for this yawn-fest to end.

It is full of peculiarities that might strike as funny or strange: people hysterically laughing when the subject being talked about is of a serious matter, people dancing out of nowhere in the school corridors resembling bad performance art, etc.

Renate Reinsve delivers another good performance, as well as the rest of the cast, but besides that and the cinematography, Armand has little to offer other than a regret to go back in time and choose another movie to watch.

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.