In the Norwegian film “Armand,” a mother is summoned to her son’s school for a crucial meeting with his teachers. This movie, a twist on a suspenseful courtroom drama set in a primary school classroom, won the top award for best first feature at Cannes last year. “Armand” gradually reveals fragments of information in a deliberate manner, constructing not a clear resolution but a complex web of uncertainties and complexities. It offers a peculiar and captivating viewing experience that may leave some feeling unsatisfied with the lack of a definitive conclusion, yet it remains gripping throughout.
Even the triggering event is kept from the audience initially. We are thrown into a discussion among a young teacher, Sunna (played by Thea Lambrechts Vaulen), an administrative figure, Asja (portrayed by Vera Veljovic), and the school’s principal, Jarle (played by Øysten Røger). Asja and Jarle task Sunna with leading this conversation, though they will eventually join in. None of them are entirely certain about what occurred, whether it was innocent or malicious, or how to proceed if they uncover the truth. Jarle advises Sunna to approach the situation seriously, leaving her unsure of what that entails.
Even Armand’s mother, Elisabeth (played by Renate Reinsve from “The Worst Person in the World”), remains unaware of the purpose of the meeting. She is a renowned actress whose career has hit a standstill and has been the subject of tabloid gossip lately. Elisabeth arrives at the classroom first and demands answers, understandably anxious. Sunna struggles to provide any information, leading to increasing frustration for Elisabeth as she waits for the other parents to arrive. Sunna clumsily tries to reassure Elisabeth that the situation is not too dire, though she is, in fact, lying as the accusation is grave and far beyond their control. Allegedly, Armand’s classmate Jon has informed his parents, Sarah (played by Ellen Dorrit Petersen) and Anders (portrayed by Endre Hellestve), that Armand has sexually assaulted and threatened him, despite both boys being only six years old.
These children are not just classmates but cousins, highlighting the deep-rooted trauma and shared history in the room, haunted by absent characters like Armand and his deceased father, Thomas. The film sparks debate over whether young children would employ the language that the adults claim they have.
“Armand” marks the directorial debut of writer-director Halfdan Ullmann Tøndel, who faces the weighty legacy of being descended from cinematic icons. In addition to crafting a film, Tøndel must navigate the expectations stemming from being the grandchild of Liv Ullmann and Ingmar Bergman. Consequently, “Armand” veers away from the standard formula of a straightforward, dialogue-driven character exploration and challenges our
“Armand” captivates with its stylish wheel spinning sequences, interspersed with moments of revelation and catharsis. Just as you think you have a firm grasp on the narrative, unexpected twists arise to challenge your understanding. While cinematic storytelling often thrives on ambiguity and inconclusiveness, in this case, it may feel a bit underdeveloped. Ideas are introduced only to be swiftly abandoned or left unexplored. Questions linger, such as the reason behind the protagonist’s sudden work stoppage and the untold story of Anders and Elisabeth’s relationship.
Despite these shortcomings, “Armand” marks a promising debut for Tøndel, offering a film that holds your attention, even if it doesn’t entirely satisfy. The movie, distributed by IFC Films and hitting theaters this Friday, carries an R rating from the Motion Picture Association due to sexual content and some language. With a runtime of 116 minutes, it earns two and a half stars out of four.
