A lot of energy in online spaces when it comes to movies is focused on generational connections. If you want to be a jerk about it, you might use the term “nepo babies.” There are countless examples, of course, but mostly it is much ado about nothing. As Hollywood is a money-driven business, most of the less talented relations weed themselves out. Surprisingly, Armand, one of the films shortlisted for the Best International Film at this year’s Academy Awards, we find a less publicized version of this, featuring a director, Halfdan Ullmann Tøndel, who is the grandson of Norwegian actress Liv Ullmann and Swedish Director Ingmar Bergman.
Armand has quite the disturbing set up. Parents are called to school as two boys have had an altercation. We soon are made aware that this altercation, according to one of the boys, became a sexual one. This meeting takes place while there is an end-of-term gathering for the other parents. A contrivance to be sure, but one that is not overly distracting. The entire film, save a few scenes in a vehicle, takes place on school grounds. This, not surprisingly, provides plenty of opportunities for high drama. And they work, until they absolutely don’t. Renate Reinsve, quickly becoming one of the most watchable actors working today, plays the mother of the boy who is accused, the titular Armand. There is also a needless backstory that she is a “public figure,” which hardly plays into the overall plot. The parents of the other boy, Sarah (Ellen Dorrit Petersen) and Anders (Endre Hellestveit), play off of Reinsve well and play their relationship troubles subtly, allowing for the script from Tøndel to reveal itself at a perfect pace.

The unfortunate part about this film is that there is absolutely promise. Unfortunately, it seems to not know how to end. The first two acts of the movie are note perfect in not only its reveals, but some shocking moments of emotion. After this, it seems that Tøndel is more interested in making an art piece, as opposed to a satisfying conclusion to a film. There are numerous sequences in which a type of interpretative dance is employed to process the emotional moments. This is not necessarily problematic across the board, but it certainly seems that we have entered into a completely different film than the first hour or so hinted at. Tøndel clearly has a talent for visuals, but seems to be slightly too in love with the artistry of individual moments.
Despite these failings, all of the scenes with the parents and staff members make the film worthy of watching. The junior teacher, Sunna (Thea Lambrechts Vaulen), is a particular standout, struggling to maintain her control when faced with individuals who clearly have a shared past and ulterior motives. As we see her make mistakes, instead of being angry or disappointed, we feel for her. Armand also makes it a point to remind the audience that we do not know anyone’s story, even if we have known them (or someone like them) for a long period of time. We only have our own perspective, and that is, by its nature, skewed and flawed. And, although it is easy to see our truth as the truth, context changes everything.
Interestingly, the film takes the perspective of a jury in a court case. We never see the altercation, and no one in the room saw it either. Everything is hearsay, always at best, secondhand information. The three staff members, the three parents, every one of them has their own view of events, but no one actually knows. What is more important? The safety of the children? The reputation of the parents? The protection of the school? There are certainly leaps in logic that the film asks us to take. And it all could have been worth it, if there had been a satisfying ending. As it stands, Armand is a good idea that never comes together.
Armand is currently playing in select theaters as a part of an Oscar qualifying run. The film will begin its theatrical release on February 7, 2025, courtesy of IFC Films.

There are certainly leaps in logic that the film asks us to take. And it all could have been worth it, if there had been a satisfying ending. As it stands, Armand is a good idea that never comes together.
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GVN Rating 6
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Dave is a lifelong film fan who really got his start in the independent film heyday of the 90’s. Since then, he has tried to branch out into arthouse, international, and avant garde film. Despite that, he still enjoys a good romcom or action movie. His goal is to always expand his horizons, through writing and watching new movies.