Melbourne IFF 2024: Armand (by Halfdan Ullmann Tøndel) | Review
Anxiety peaks, confrontation speaks. A battle for truth arises in a psychologically motivated drama in Halfdan Ullmann Tøndel’s sophisticated yet eloquent feature-directorial debut.
I was always intrigued to see Renate Reinsve in a more serious role following her acclaimed performance in Joachim Trier’s The Worst Person in the World. Her delicate yet compelling portrayal of Julie was both flawless and powerful, leaving me eager to see a different side of her—perhaps an alter ego. This was undoubtedly made possible by this year’s Camera d’Or winner, Armand.
For starters, Armand isn’t an easy film to watch. The story takes place in a school, where a private meeting is scheduled between the parents of two six-year-old boys, Armand and Jon. They have been called in to discuss and resolve a rather serious issue. While the school representatives brace themselves for a tense encounter, Elisabeth, Armand’s mother, arrives without knowing any details about why she has been asked to meet Jon’s parents, Sarah and Anders. A closed-door conversation begins, leading to an enormous explosion of revelations.
Drawing inspiration from the lineage of Ingmar Bergman, director Halfdan Ullmann Tøndel confidently carries the legacy of the name. He shapes the screenplay in an Aronofsky-esque manner, creating an engaging thriller that builds suspense through complex and resentful confrontations. The film delves deeply into a tense conversation that threatens to disrupt the harmony and decorum of the meeting, featuring individuals with challenging personalities, particularly Elisabeth. The gradual inclusion of school politics simmers behind the scenes, motivating the committee members to do whatever it takes to preserve their reputation. The committee carefully navigates diplomatic terrain, handling opinionated questions with the utmost care. However, the enigmatic atmosphere of concealment and obfuscation lingers in the room, ultimately obstructing any escape from the truth.
There is a stark contrast between Elisabeth’s energy and that of Sarah, Anders, and the school committee, who somehow manage to prepare themselves to face her with courage. Elisabeth is a woman filled with rage, exuding unapproachable body language, yet she tends to be brutally honest about everything she feels and hears. She is depicted as someone who struggles with concentration, which may imply that she has difficulty grasping the gravity of the situation. This leads to moments where she loses her composure and remains in an unfathomable state. At times, her reactions reach an extreme, particularly in one scene where her prolonged laughter becomes unsettling.
At times, Armand evokes a similar atmosphere to Fran Kranz’s film Mass (Sundance 2021), particularly in the context of a school discussion where a multitude of emotions collide and culminate in a devastating outburst. The film serves as a cumulative analysis of the lack of communication between family members, the extent of denial in saving a family’s structure, the value of upbringing, the effects of past trauma, and the cost of truth when it comes to preserving dignity and emotions. It layers on the variables that shape judgments, where accusations, criticism, and perceptions converge to form a solution—one that ultimately questions the integrity of humanity.
The film delves deeper into a character study, where each character closely examines their role as a savior without revealing their true intentions. It showcases the infusion of political and psychological themes, enclosing hidden agendas and placing a heavy burden on the characters.
Pay attention to Elisabeth’s stage play-like movements, which are executed with immaculate emotional precision. These moments may provide additional insights into the various facets of suffering in the most complex manner possible.
Armand is currently showcased at the Melbourne International Film Festival 2024 whose programming team also selected Motel Destino, La Cocina and Simon of the Mountain, among others.
