ARMAND -- Ambitious Debut is Anchored by an Excellent Reinsve

Review by Borja Izuzquiz

Renate Reinsve in Halfdan Ullmann Tøndel’s ARMAND. Courtesy of Pål Ulvik Rokseth. An IFC Films Release.

“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