Movies

Review: In a Norwegian school, parents and teachers clash over the fate of ‘Armand’

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The unseen main figure in Halfdan Ullman Tøndel’s first directorial effort exerts a significant influence on the storyline that takes place across a vacant elementary school over a solitary afternoon. Despite his infrequent appearances, he is frequently mentioned with reverence or solemnity as his mother, Elisabeth (Renate Reinsve from “A Different Man”), rushes to her son’s school for an urgent meeting with the school administration and other parents of a fellow student.

In “Armand,” the event that triggers the gathering serves as the core of the play’s drama, yet it remains unseen and is instead talked about indirectly by teachers and more directly by parents. This incident also opens up a complex, interpersonal dispute that extends beyond the classroom and delves into decades-old family history. The script reveals this history bit by bit, in drips that are both agonizing and tantalizing. However, the final picture painted is unfortunately confusing, like a blurred watercolor.

As a cinema enthusiast, I must confess: the director whose work I’m about to discuss is no ordinary filmmaker. This individual carries an extraordinary lineage, being the grandson of Swedish cinematic legend Ingmar Bergman and Norwegian acting icon Liv Ullmann. The weight of such a family history can be daunting for any artist, but this visionary doesn’t shy away from embracing audacious concepts in his debut film.

In this groundbreaking work, he takes on a thought-provoking theme with an intriguing use of surrealist symbolism and subjectivity, offering a fresh perspective that leaves audiences spellbound.

In contrast, it’s during the quiet scenes of “Armand” that the film really excels. The intriguing drip-feed of plot details, coupled with a standout performance from Reinsve, creates a compelling dynamic as he challenges Ellen Dorrit Petersen, playing Sarah, Thomas’ mother, who was also involved in the incident with Armand. The arrival of Elisabeth, a renowned actress, at the school in high heels and glamorous attire, strides through the halls with loud, echoing footsteps, her tall, athletic build and forceful presence completely overpowering Sunna (Thea Lambrechts Vaulen), the gentle, shy teacher who is tasked with maintaining parental harmony during this tense encounter.

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Occasionally, “Armand” seems like a Scandinavian satire of social etiquette, as the school principal, Sunna (Øystein Røger), and the nurse, Vera Veljovic-Jovanovic, demonstrate a darkly humorous approach to managing a meeting in disarray. They offer vague solutions, fail to address issues head-on, and deal with an incessant nosebleed. A viewer unfamiliar with Scandinavian culture might question if the film is criticizing excessively passive cultural traits or just portraying them. However, Elisabeth’s actions during the meeting are definitely odd and out of the ordinary – from an unstoppable fit of laughter to a peculiar modern dance she performs in the hallway.

The direction by Tøndel in “Armand” is both enriching and challenging; some of his more unconventional concepts could benefit from trimming. However, the cinematography by Pål Ulvik Rokseth stands out, with its use of natural light in the almost deserted school during summer break. The camera appears to possess a keen intellect, moving independently down hallways and peeking around corners, acting as an eavesdropper. It seems to guide or nudge characters within the space, or curiously zoom in on intriguing close-ups (such as the back of a head or an arm), focusing primarily on Elisabeth during conversations. The opening and closing shots offer a prolonged gaze at the school’s exterior, suggesting a cautious and slightly skeptical yet ultimately healthy appraisal of this institution.

However, it’s hard not to question Tøndel’s understanding of his own work. The surrealist elements seem discordant and not fully realized, leaving the film’s conclusion in confusing, troubled waters – particularly given the sensitive nature of portraying victims of violence. Elisabeth, a character shrouded in mystery, appears to be negatively portrayed through her actions, yet the narrative unexpectedly extends empathy towards her that feels unearned and morally ambiguous. This could be intentional, but it leaves viewers feeling disoriented, even deceived by where the story leads.

The unique, thought-provoking structure of this story, along with its unexpected twists, is commendable for its creativity. However, the ending of “Armand” weakens its promising start, creating an impression that Tøndel’s confident direction initially falters as he approaches a peculiar conclusion, which leaves room for doubt.

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2025-02-08 01:01

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