Renate Reinsve’s Breathtaking Performance in ‘Armand’ Will Leave You Speechless

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Director Halfdan Ullmann Tøndel, who happens to be the grandson of nine-time Oscar-nominated Swedish filmmaker Ingmar Bergman and two-time Oscar-nominated acting legend Liv Ullmann, delivers a compelling drama with “Armand.” While traces of existential themes, visually striking compositions, and intimate character portrayals reminiscent of his grandparents’ timeless classics can be found in this production, Tøndel introduces an intriguing blend of satirical humor, critical commentary on contemporary institutions, and nail-biting suspense. Though the mixture becomes less rewarding as the story unfolds, the journey remains consistently thought-provoking and wholly engrossing.

In the film titled “Armand,” which was awarded the Caméra d’Or for best first feature at the 2024 Cannes Film Festival, director Ullmann Tøndel chooses to confine most of the action within a single location – an intimidating and foreboding-looking school building. Furthermore, he maintains a compact cast and assigns the demanding main role to Renate Reinsve once more, whose acting prowess is undeniable as she continues to shine. Her fame skyrocketed after winning Best Actress in Cannes for 2021’s “The Worst Person in the World,” and her exceptional performance in 2024’s “A Different Man” left many North American viewers impressed.

‘Armand’ Critiques the Institutional Failings of the School System

In Reinsve’s portrayal, Elisabeth hurries towards a crisis meeting at school regarding her son Armand. The educators and officials seem apprehensive about facing Elisabeth not just due to the tough discussion ahead, but because they feel ill-prepared for such a situation. Principal Jarle (Øysten Røger) lacks clarity in his leadership, while administrator Asja (Vera Veljovic) frequently steps away due to nosebleeds. Consequently, the responsibility of delivering the distressing news falls upon the trembling young teacher Sunna (excellently played by Thea Lambrechts Vaulen).

Ullmann Tøndel is the one who penned Armand’s script as well. He meticulously doles out information like tiny doses of poison, prolonging tense moments to heighten suspense and discomfort. Although this method may later seem contrived, at first, our curiosity matches Elisabeth’s eagerness to uncover Armand’s secrets. As she confidently walks in, donning tight trousers, a dark purple raincoat, and noisy heels, Ullmann Tøndel skillfully keeps us on tenterhooks.

The tension mounts even higher since the meeting won’t start until the arrival of couple Anders (Endre Hellestveit) and Sarah (Ellen Dorrit Petersen). In the meantime, Sunna fills the silence with an uncomfortable inquiry about the weather to Elisabeth. Upon their arrival, Elisabeth is taken aback by the troubling allegation that Armand has sexually assaulted their six-year-old son, Jon.

The Film’s Risks Are Admirable but May Not Appeal to Everyone

If Armand resembles a blend of Ilker Çatak’s Academy Award-nominated The Teacher’s Lounge and Roman Polanski’s Carnage, you’re on the right track. However, as the story unfolds, it becomes clear that Ullmann Tøndel’s intentions are darker and more fantastical. At first, Elisabeth resists the claim against her son, particularly since he allegedly used adult-like language unsuitable for a six-year-old. However, Armand is troubled (Jarle sighs at the start of the film, “It’s Armand again”), and Elisabeth appears to be equally problematic.

Elisabeth, an actress grieving the loss of her husband to suicide, is intriguingly complex, a fact that both Ullmann Tøndel and we appreciate. One moment she’s portrayed as a public figure who’s endured hardships, and the next, she appears to manufacture drama in her life. While our initial instinct might be to support Elisabeth, each fresh disclosure compels us to reconsider our view of her. These disclosures are shared discreetly by Anders and Sarah, two individuals with hidden pasts whose secrets, when exposed, similarly challenge our perceptions of them.

Over time, Elisabeth faces such intense opposition from outside sources that her instinctive responses are triggered, leading both Elisabeth and the movie into a surreal and detached narrative. Ullmann Tøndel’s shift towards something more philosophical and introspective shows that Armand is not primarily focused on the children. Instead, it centers around one woman’s psychological deterioration. What makes this dark twist compelling is Reinsve’s portrayal. In essence, Armand is a depiction of a mother’s mental collapse, and what makes this grim journey captivating is Reinsve’s performance.

Reinsve, portrayed by Elisabeth, is put through a variety of emotions – ranging from anger, confusion, overburdened, dominant, and anguished – yet she manages to deliver with finesse. In a standout scene, Elisabeth’s character reacts hysterically for several minutes when confronted with new school rules by Armand and Jon. This act of laughter is not just a brilliant display of acting but also marks the beginning of Elisabeth’s emotional breakdown, plunging her into mental distress. However, this intense emotional rollercoaster seems more like Ullmann Tøndel’s intention to avoid a neat resolution or, worse still, struggling with how to conclude the story. This chaotic finale could be seen as an interpretation of the director’s desire for something other than a conventional ending.

Even Alfred Hitchcock Plays a Role in ‘Armand’

In a gritty, grainy style reminiscent of 16mm film stock, cinematographer Pål Ulvik Rokseth skillfully employs skewed angles, gradual camera movements, and the iconic dolly zoom technique akin to Alfred Hitchcock’s. This results in transforming Armand’s school into a seething crucible, where the students are absent but the hollow corridors brim with the hidden secrets of their parents. Sound designer Mats Lid Støten significantly amplifies the film’s ominous atmosphere with the cacophony of dripping faucets, haunting echoes, and the authoritative clicking of high-heeled footsteps.

All in all, Ullmann Tøndel skillfully handles his filmmaking tools, demonstrating himself as a bold and sensitive director who isn’t shy about pushing the boundaries of drama towards both provocative and daring paths. It’s always refreshing to see more risk-taking in movies, even those that don’t quite hit the mark perfectly. Starting from February 7, 2025, Armand will be shown in select theaters, with a broader release scheduled for February 14, 2025, courtesy of IFC Films.

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2025-02-04 04:03