A title card solely featuring movies centered around boxing would more than likely go into the next day. Each of these would provide the typical jabs, uppercuts, and hooks with the hope that one of the moves will land a much-anticipated knockout. As it were, boxing movies ultimately rely on decisions to be determined a winner. The latest to climb into the quadrilateral, The Fire Inside, delivers a bout worthy of a unanimous decision.
 
After having been the first woman to receive an Academy Award nomination for best cinematography on Mudbound, Rachel Morrison assumes new challenges by stepping into the director’s chair for the boxing film. The trailblazing narrative between her achievements and that of the film’s subject Claressa Shields (Ryan Destiny), run parallel, as both find success in typically male dominated worlds.
 
For Shields, the challenges of “making it” in the sport of boxing where misogyny runs rampant not just within the sport, but also exist because of external expectations, is exacerbated by a difficult comeuppance in Flint, Michigan. With the tutelage of her coach and former boxer Jason Crutchfield (Brian Tyree Henry), Shields faces the whirlwind of obstacles stacked against her.
 
Additionally, the commentary surrounding the role and expectation for women in sports is loud and resounding. Shields is expected to act nice, dress sexy, and take less money than her male counterparts for equally if not more substantial and successful work. Halfway through, Shields accomplishes what she believes is her ultimate purpose, expecting her fortunes and those of her family to change for the better.
 
At first, the anticipated results do not materialize for Shields, leading her to reassess her position. With this introspection, the film uses these moments to tack on added layers concerning the meaning of success not just in life, but in sport where supposed greatness is measured and recognized by accolades and achievements. Therefore, this perspective makes The Fire Inside one of the few “sports” movies that offers views on the politics and purpose of sport as it relates to female participation.

After almost two hours, The Six Triple Eight concludes with an inspiring coda it wishes the rest of the movie could have lived up to. During these final 10 minutes, archival footage and interviews with the surviving members of the 6888 battalion help the movie reach its goal; shining a light on the remarkable story of 855 black women tasked with an impossible challenge during World War II.

Morale for American soldiers was low in 1943. Over 17 million pieces of mail remained undelivered due to changing strategies, yet the importance of making sure these were delivered was essential to provide comfort during difficult times. As such, the six triple eight battalion, composed of black women are assigned the task of sorting and delivering the letters: all 17 million of them in three months.

The enormity of the task was designed to have the battalion fail. Led by Major Adams (Kerry Washington) the soldiers had repeatedly asked to be assigned meaningful work in service of the war effort. Rampant racism and misogyny across the armed forces prevented them from doing so. Finally, the 6888 battalion were given the mail sorting task, but not without the challenges of discrimination.

“I love you” Elisabeth (Renate Reinsve) exclaims as she races down a countryside road. Having not received an answer, she inquires whether that sentiment is reciprocated. Armand introduced itself to Cannes audiences with that short yet compelling scene that foreshadows the tendency of influencing and manipulating perceptions from that moment onwards via shocking and muddled reveals.

Elisabeth’s query remains unanswered as she arrives draped with exquisite elegance to her son’s school. She is there to discuss an incident that occurred between her son Armand and fellow classmate Jon, neither of which make an appearance.

First time director Halfdan Ullmann Tøndel manages to create an elaborate space surrounding an otherwise simple affair. The incident in question is kept secret at first, but the school’s insistence on the details not being leaked alludes to a potentially sinister occurrence. Furthermore, Tøndel envisions Elisabeth as otherworldly, with her radiance existing in stark contrast to the surroundings she’s arrived at.

The setting is basic enough, yet after the categorical introduction, Tøndel leisurely reveals details that increasingly challenge perceptions. Elisabeth, along with Jon’s parents Sarah and Anders meet with their children’s teacher Sunna. The conversation is cordial enough partly due to the fact she and Jon’s parents are related. However, Elisabeth finds it difficult to make sense of the serious accusations, leading her to ferociously defend her son.

The school where the film takes place offers its own dosages of mystery and tension. Unpredictable oddities made possible by the excellent cinematography of Pål Ulvik Rokseth, are liable to take place in dark hallways as fire alarms incessantly go off, adding to the increased tautness. Classroom walls hold lies and dark secrets people tell themselves to justify their purpose and prejudices, as the past and present lure their heads to defend their side of the story.

Films related to family drama run through Tøndel’s family history. His grandparents, Ingrid Bergman and Liv Ullman were two of the greatest filmmakers to ever tackle these subjects. Bergman and Ullman directed and starred in Autumn Sonata, a 1978 film dealing with family dynamics and the effect of parental absenteeism on children. Tøndel retraces those themes here, but layers with a unique style and thematic vision that helps him stand apart from his famous grandparents. In fact, Tøndel gleefully navigates the film towards increasingly odd and surreal depths.

Anchoring the hellish landscape is Renate Reinsve. Already having proven herself an excellent actress in The Worst Person in the World, Reinsve elevates her abilities even further here. Her performance of Elisabeth spiraling into a state of anguish and despair is extraordinary. Reinsve’s pinnacle moment occurs during a seven-minute scene where she completely takes over with an absurdity that defies convention. Tøndel’s direction slings Elisabeth towards unforeseen situations from that point, and Reinsve continually more than meets the challenge.

​Armand is as ambitious a debut as can be. Not every swing connects for Tøndel, yet he remains committed to push boundaries. As the answer to Elisabeth’s initial question remains unanswered, so too does Tøndel refrain from revealing the reasons for his unconventional decisions or for his characters motivations. Whether that weirdness is ultimately earned is up for debate, but the unique vision is appreciated.

Armand is in theaters on November 29.
 
Rating 3.5/5