Armand (2024) - Film Review

      Armand, 2024.

      Written and Directed by Halfdan Ullmann Tøndel.

      Featuring 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, faces accusations of overstepping boundaries with his best friend at elementary school. Though the specifics of the incident remain unclear, it ignites a series of events that propel parents and school personnel into an intense struggle for redemption, giving rise to madness, desire, and obsession.

      Although Armand is the central character in writer/director Halfdan Ullmann Tøndel’s film—who is the grandson of Liv Ullmann and Ingmar Bergman—the boy himself is primarily not seen and is only discussed for about 98% of the movie. This choice is understandable, given the dark nature of the incident, and it may seem irresponsible to cast children in roles that would require them to act out such situations (excluding the traumatic event itself). The filmmakers even refrain from disclosing the nature of their characters to the child actors.

      This approach permits Halfdan Ullmann Tøndel to confine the parents and school staff (some of whom are initially hesitant to engage in the discussions) to claustrophobic settings, allowing the skilled cast to engage with the challenging material as their characters collide, uncovering dynamics, revealing secrets, and confronting darker truths.

      Elisabeth, portrayed by the talented Renate Reinsve, is a widowed, struggling actress who appears to be at the end of her career and presents herself as somewhat dramatic. This drama manifests as she is summoned for a private meeting with school counselors and parents of another boy, Thomas, played by Ellen Dorrit Petersen and Endre Hellestveit. Elisabeth learns the shocking news that her son, Armand, is accused of sexually assaulting another boy in a school bathroom following a disagreement at the playground.

      Uncomfortable discussions ensue, attempting to discern the adequacy of Armand's upbringing and the impact of his father’s suicide. There are also hints that this unseen father may have been abusive. Allegations surface, including that Elisabeth might walk around their home naked when Thomas visits. The most alarming detail is that the children involved are just six years old.

      The film continues to reveal smaller details that reshape the understanding of the situation. Central to this is Reinsve’s gripping performance as a self-centered yet traumatized mother who fails to realize that her past with her husband—particularly before his suicide—could severely affect their son. It's possible that Armand's behavior is a reaction to what he has experienced or his frustration over losing his father.

      Without divulging too many spoilers, the latter part of the film highlights the strained relationship between Elisabeth and Thomas’s mother, Sarah. This new angle feels a bit clichéd and less satisfying but remains engaging. At times, the film transitions from a dramatic stage-play atmosphere to surreal sequences that resemble dance numbers, touching upon the psychological state of the characters. While it aims high, this ambitious attempt doesn’t completely succeed, especially since Armand shines in scenes where the characters are in one room navigating the unthinkable accusations.

      Reinsve's performance elevates the work, infusing something fragmented and heartbreaking into the film’s surreal elements. Her exaggerated, celebrity-like reactions as a mother refusing to take the situation seriously and mocking the school’s next steps strikingly contrast with the more serious moments. Viewers may uncover how disturbed young Armand is, but they will remain captivated by Reinsve’s powerful and, at times, mesmerizing performance.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He also serves as the Reviews Editor for Flickering Myth. Check here for new reviews, follow his Twitter or Letterboxd, or email him at [email protected]