Armand, 2024.
Written and Directed by Halfdan Ullmann Tøndel.
Starring Renate Reinsve, Ellen Dorrit Petersen, Endre Hellestveit, Thea Lambrechts Vaulen, Øystein Røger, Vera Veljović-Jovanović, Loke Nikolaisen, Assad Siddique, and Patrice Demonière.
SYNOPSIS:
Armand, a 6-year-old boy, is accused of crossing boundaries against his best friend at elementary school. While no one knows what actually happened between the two boys, the incident triggers a series of events, forcing parents and school staff into a captivating battle of redemption where madness, desire and obsession arise.
Despite being the titular character in writer/director Halfdan Ullmann Tøndel’s (the grandson of Liv Ullmann and Ingmar Bergman) Armand, that child is not seen and only talked about for roughly 98% of the film. That’s also a good reason, considering the premise here is founded on such a dark incident taking place, that it would arguably come across as irresponsible to even cast children and have them act out aspects of these roles (not referring to the traumatizing event), even withholding to them who their characters are and what’s happening.
The approach also allows for Halfdan Ullmann Tøndel to place the parents of those involved and an elementary school staff (some of whom are uncomfortable to even participate at first in the discussion) in contained, claustrophobic spaces giving the talented ensemble room to tear through such challenging material, with their characters on a collision course to illuminating their dynamics, revealing secrets, and getting at more sinister truths.
Elisabeth (Norwegian shooting star Renate Reinsve, a supremely talented young performer who consistently finds herself in grim stories, sometimes playing morally compromised characters, all to the point where one hopes someone put her in a comedy or animated feature next) is a widowed, struggling actor (it is implied that her career might be over), presenting herself as a bit of a diva craving drama. That’s precisely what she is getting, as school counselors and principals (played by a combination of Øystein Røger, Thea Lambrechts Vaulen, and Vera Veljovic-Jovanovic) have summoned her for a private conversation with them and parents to another boy, Thomas, played by Ellen Dorrit Petersen and Endre Hellestveit. However, there is probably no way to prepare any parent for what Elisabeth hears, which is that her child, Armand, is accused of sexually violating another boy in the school bathroom following an apparent playground argument.
Several uncomfortable conversations follow, attempting to break through understanding whether or not Armand is being raised appropriately or suffering from his father’s suicide. There are also implications that this unseen father was abusive. Allegations are also leveled at Elisabeth, with Thomas claiming that whenever he would end up over by their house, sometimes she would walk around the house naked. The most explosive piece of information here is that the children in question are only six years old.
From there, the film continues to dish out smaller details that recontextualize what to make of this situation. At the center is an arresting performance from the consistently outstanding Renate Reinsve as someone self-centered but also traumatized and unaware that whatever has been happening at home between her and her husband before his suicide could have had horrific implications on their son. Perhaps he is acting out based on what he has seen or his anger over no longer having a father.
Without getting too deep into spoilers, the second half emphasizes a broken relationship between Elisabeth and Thomas’s mother, Sarah. It is a somewhat clichéd and disappointing direction to take the film, but it is still engaging. During this, there is also occasionally a metamorphosis from stage play-reminiscent drama into surreal sequences bordering on dance numbers, admirably reaching into the psychological state of the former. It’s an ambitious swing that doesn’t pay off fully, especially since Armand is so compelling when it’s about these characters in one room talking through unthinkable allegations.
Renate Reinsve elevates the material, bringing something shattered and devastating to Armand‘s surrealist segments. Her more dramatic, over-the-top, celebrity-style outbursts as a parent refusing to take this seriously and openly laughing at the next steps the school wants to take serve as a fascinating counterweight to her more dramatic, over-the-top, celebrity-style outbursts. You’re probably going to come to find out how disturbed and problematic young Armand is, but you will stay for her commanding and, at times, hypnotic performance.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
