Armand

"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.

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 and the other boy, the centre of the story here, are absent. They are rendered psychologically dead by psychologically dead - or insane - parents.

What began as a gritty drama, turned out to be psychological horror. I suppose the Scandinavians are good at living the unconscious, manifesting the darkness. A bleeding nose in one of the characters signals early on that we are to spiral down, nauseated, into the madness of all the "adults". The feeling of vertigo is subtle and perhaps more terrifying than Hitchock in its normalised elusiveness. Empty corridors, staircases, and silent screams. A children's choir where children are voiceless. Two mothers who couldn't be more repulsive. Where does evil begin? "If you look at our image, you'll see only chaos. If you dig deeper, you'll find nothing else."

The movie is a respectable effort in the art of Cinema although, even if it is filmed in color it is very nearly 'film noir' , muted colors and lighting throughout sometimes in the extreme; a scene in a classroom with the lights turned off ? The plot is too intricate and character's relationships to one another just seem a bit too cute to be plausible but there to tell the story and then you get more of their backstories as you get deeper into the movie. Look the acting is great and it explores an age old human dilemma where things are not what they seem and people act on their assumptions when when the facts are uncertain. I saw 'The Teacher's Room' which was outstanding this movie is similar in some respects but is not ' knitted ' together very well . I am glad I saw it but would be hard pressed to recommend it , if I had been streaming it at home I would not have finished watching it. The movie is just not straight forward in it's delivery and that is too bad; it had much more potential with drama and acting that def. Is present in the film.