Armand

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.)

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."

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.

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.

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.