Norwegian cinema takes an audacious leap into the realm of suspense with the intriguing film ‘Armand’, where a seemingly ordinary school meeting spirals into a whirlwind of mystery and tension. Written and directed by newcomer Halfdan Ullmann Tøndel, this film offers a fresh take on psychological thrillers, unraveling layers of secrets and emotions within the confines of a primary school classroom.
At the heart of ‘Armand’ is a gripping narrative led by Elisabeth, a mother summoned to her son's school for an enigmatic discussion. Played by Renate Reinsve, known for her role in The Worst Person in the World, Elisabeth is a once-renowned actress whose public life has taken a downturn. Her apprehension is matched by the audience's as neither she nor we are initially privy to the gravity of the situation unfolding.
The film commences with an intense dialogue among school faculty members. Junior teacher Sunna, portrayed by Thea Lambrechts Vaulen, faces the daunting task of navigating a complex conversation about the mysterious issue pervading the school. Accompanied by administrator Asja and principal Jarle, played by Vera Veljovic and Øysten Røger respectively, Sunna tries to dissect the reality of an accusation so serious it could unravel family ties. Jon, a classmate and cousin of Armand, alleges that Armand has both threatened and abused him. Both children, mere six-year-olds, are entangled in words far beyond their youthful comprehension.
This tense scenario intentionally withholds clarity, reflecting a chaotic reel of familial trauma and history. The absence of Armand and his late father Thomas from the film adds a layer of ghosts haunting the individuals present, painting an eerie picture as each character deals with their disbelief and confusion.
Tøndel's directorial debut jaunts carefully amidst the shadow of his illustrious lineage, being the grandson of Liv Ullmann and Ingmar Bergman. Despite such monumental expectations, ‘Armand’ refuses to align with conventional storytelling. Instead, it creatively bends the viewers' perception of reality, symbolically explored through Elisabeth’s unexpected dance sequences. These moments of choreographed expression poignantly reveal her emotional turmoil, serving as both a haunting and liberating outlet.
Moreover, a peculiar comedic release surfaces when Elisabeth succumbs to uncontrollable laughter. It's a display of brilliant acting and adds a surreal dimension to the narrative. This laughter, juxtaposed against a malfunctioning fire alarm and spontaneous nosebleeds from Asja, creates an atmosphere drenched in tension and unpredictability.
While Tøndel cleverly constructs a play of revelations and cliffhangers, ‘Armand’ occasionally leaves viewers grappling with loose ends. The film introduces multiple layers – such as Elisabeth’s halted career and her complex relationship with Anders – yet not all these trajectories are thoroughly explored. Such ambiguity can either lend a sense of open-ended artistry or frustrating incompleteness depending on one’s perspective.
Armand, released by IFC Films and rated R for its mature thematic content, is both a promising foray into cinematic intrigue and a testament to Tøndel’s nascent creativity. It engages, puzzles, and provokes thought, even if it abstains from providing neatly tied conclusions. For lovers of enigmatic thrillers, this film will tantalize with its hauntingly vivid storytelling and indelible performances, captivating audiences from start to finish.
