DIRECTOR: Halfdan Ullmann Tondel
STARRING: Renate Reinsve, Ellen Dorrit Petersen, Endre Hellestveit, Thea Lambrechts Vaulen
RUNNING TIME: 1 hr 56 minutes
LANGUAGE: Norwegian
Armand, a 6 year old boy, is accused of crossing boundaries against his best friend at elementary school. While no one knows what actually happened between the two boys, the incident triggers a series of events, forcing parents and school staff into a captivating battle of redemption where madness, desire and obsession arise.
***
Armand is the feature directorial debut of Halfdan Ullmann Tondel, grandson of Norwegian actress Liv Ullman and Swedish filmmaker Ingmar Bergman. The film had its world premiere in the Un Certain Regard section at the Cannes Film Festival on May 18, 2024, and it won the Camera d'Or, which is awarded for the best first feature film. It is scheduled to be theatrically released in Norway on September 27, 2024. North American distribution rights were acquired by IFC Films in June 2024.
"This year's Norwegian Oscar candidate is a breath of fresh air, a film with stylish daring and impressive role interpretations. It sheds light on a complicated theme from constantly new angles, and it surprises and touches its audience with creative stagings of the main characters' emotional processes," says the Norwegian Oscar committee, which is chaired by Kjersti Mo, about the film in a press release. Armand had stiff competition from Quisling's Last Days and Sex to become Norway's Oscar candidate.
The film is a production of Eye Eye Pictures, which was launched in 2022 by the former Oslo Pictures CEO-producer Dyveke Bjørkly Graver and producer Andrea Berentsen Ottmar. Armand is produced by Berentsen Ottmar, in co-production with Keplerfilm, One Two Films, Prolaps Produktion and Film i Vast.
Armand is a thriller drama and it was filmed in Oslo, Norway.
To check out all previous submissions for Norway, click HERE.
STARRING: Renate Reinsve, Ellen Dorrit Petersen, Endre Hellestveit, Thea Lambrechts Vaulen
RUNNING TIME: 1 hr 56 minutes
LANGUAGE: Norwegian
Armand, a 6 year old boy, is accused of crossing boundaries against his best friend at elementary school. While no one knows what actually happened between the two boys, the incident triggers a series of events, forcing parents and school staff into a captivating battle of redemption where madness, desire and obsession arise.
***
Armand is the feature directorial debut of Halfdan Ullmann Tondel, grandson of Norwegian actress Liv Ullman and Swedish filmmaker Ingmar Bergman. The film had its world premiere in the Un Certain Regard section at the Cannes Film Festival on May 18, 2024, and it won the Camera d'Or, which is awarded for the best first feature film. It is scheduled to be theatrically released in Norway on September 27, 2024. North American distribution rights were acquired by IFC Films in June 2024.
"This year's Norwegian Oscar candidate is a breath of fresh air, a film with stylish daring and impressive role interpretations. It sheds light on a complicated theme from constantly new angles, and it surprises and touches its audience with creative stagings of the main characters' emotional processes," says the Norwegian Oscar committee, which is chaired by Kjersti Mo, about the film in a press release. Armand had stiff competition from Quisling's Last Days and Sex to become Norway's Oscar candidate.
The film is a production of Eye Eye Pictures, which was launched in 2022 by the former Oslo Pictures CEO-producer Dyveke Bjørkly Graver and producer Andrea Berentsen Ottmar. Armand is produced by Berentsen Ottmar, in co-production with Keplerfilm, One Two Films, Prolaps Produktion and Film i Vast.
Armand is a thriller drama and it was filmed in Oslo, Norway.
To check out all previous submissions for Norway, click HERE.
FILM REVIEW:
(This review contains spoilers.)
“If you look at us on the surface there’s a lot of chaos. But if you look at us just the right amount, you’ll see we’re alright.”
Armand, the debut feature by Norwegian writer-director Halfdan Ullmann Tøndel, is a bold, thought-provoking exploration of parental conflict, trauma, and hidden histories, brought to life by a powerful performance from Renate Reinsve. Set almost entirely within the confines of a dimly lit elementary school, the film follows Elisabeth (Reinsve), a local celebrity and mother defending her son against serious accusations. Ullmann Tøndel’s decision to keep the setting small, yet the emotional stakes high, creates an intense and claustrophobic atmosphere that keeps the audience on edge from beginning to end.
Renate Reinsve, fresh off her acclaimed role in The Worst Person in the World, delivers a career-defining performance as Elisabeth, a woman teetering on the edge of a breakdown. Reinsve embodies her character with such raw emotion that it’s impossible to look away, whether she’s defending her son or unraveling in unexpected ways. The film’s most unforgettable moments come when Reinsve pushes Elisabeth to extremes, blending dark humor and emotional vulnerability in a way that is both unsettling and captivating. Her portrayal of a mother caught between societal expectations and personal tragedy grounds the film, even when its surreal elements take flight.
Ullmann Tøndel shows remarkable ambition as a first-time director, taking creative risks that set Armand apart from typical issue-driven dramas. The film’s surreal touches, including Elisabeth’s uncontrollable fits of laughter and an unexpected dance sequence, add layers of complexity to the narrative. These moments of absurdity break up the tension, offering a strange yet effective counterbalance to the heavy themes of abuse, grief, and interpersonal conflict. While not every risk pays off, Ullmann Tøndel’s willingness to experiment with form makes the film feel fresh and unpredictable.
The film’s atmosphere is further enhanced by Pål Ulvik Rokseth’s cinematography, which drenches the school setting in cold, Scandinavian tones, evoking a sense of isolation and dread. The tight framing and close-ups keep the focus on the characters’ faces, allowing the audience to feel the suffocating pressure of the unfolding drama. Ullmann Tøndel’s use of space and sound creates an almost Gothic sense of entrapment, as the characters’ secrets and resentments seep into every corner of the school. This effective visual style mirrors the emotional unraveling of the characters, particularly Elisabeth, as she faces both her past and her present.
Armand is a strikingly original debut that showcases Ullmann Tøndel’s potential as a filmmaker to watch. While the film’s unconventional choices may not appeal to everyone, it is a daring exploration of the complexities of parenthood, trauma, and identity, anchored by an unforgettable performance from Reinsve. The blend of psychological drama and surrealist touches makes Armand a haunting and memorable experience, leaving viewers with plenty to ponder long after the credits roll.
(This review contains spoilers.)
“If you look at us on the surface there’s a lot of chaos. But if you look at us just the right amount, you’ll see we’re alright.”
Armand, the debut feature by Norwegian writer-director Halfdan Ullmann Tøndel, is a bold, thought-provoking exploration of parental conflict, trauma, and hidden histories, brought to life by a powerful performance from Renate Reinsve. Set almost entirely within the confines of a dimly lit elementary school, the film follows Elisabeth (Reinsve), a local celebrity and mother defending her son against serious accusations. Ullmann Tøndel’s decision to keep the setting small, yet the emotional stakes high, creates an intense and claustrophobic atmosphere that keeps the audience on edge from beginning to end.
Renate Reinsve, fresh off her acclaimed role in The Worst Person in the World, delivers a career-defining performance as Elisabeth, a woman teetering on the edge of a breakdown. Reinsve embodies her character with such raw emotion that it’s impossible to look away, whether she’s defending her son or unraveling in unexpected ways. The film’s most unforgettable moments come when Reinsve pushes Elisabeth to extremes, blending dark humor and emotional vulnerability in a way that is both unsettling and captivating. Her portrayal of a mother caught between societal expectations and personal tragedy grounds the film, even when its surreal elements take flight.
Ullmann Tøndel shows remarkable ambition as a first-time director, taking creative risks that set Armand apart from typical issue-driven dramas. The film’s surreal touches, including Elisabeth’s uncontrollable fits of laughter and an unexpected dance sequence, add layers of complexity to the narrative. These moments of absurdity break up the tension, offering a strange yet effective counterbalance to the heavy themes of abuse, grief, and interpersonal conflict. While not every risk pays off, Ullmann Tøndel’s willingness to experiment with form makes the film feel fresh and unpredictable.
The film’s atmosphere is further enhanced by Pål Ulvik Rokseth’s cinematography, which drenches the school setting in cold, Scandinavian tones, evoking a sense of isolation and dread. The tight framing and close-ups keep the focus on the characters’ faces, allowing the audience to feel the suffocating pressure of the unfolding drama. Ullmann Tøndel’s use of space and sound creates an almost Gothic sense of entrapment, as the characters’ secrets and resentments seep into every corner of the school. This effective visual style mirrors the emotional unraveling of the characters, particularly Elisabeth, as she faces both her past and her present.
Armand is a strikingly original debut that showcases Ullmann Tøndel’s potential as a filmmaker to watch. While the film’s unconventional choices may not appeal to everyone, it is a daring exploration of the complexities of parenthood, trauma, and identity, anchored by an unforgettable performance from Reinsve. The blend of psychological drama and surrealist touches makes Armand a haunting and memorable experience, leaving viewers with plenty to ponder long after the credits roll.
