Unraveling ‘Armand’: A Deep Dive into the Poignant Themes of Drowning and Despair – The Arts Fuse Review

By Steven Erickson

Armand, a film directed by Halfdan Ullmann Tøndel, has been shown at the AMC Boston Common starting February 13 and at Coolidge Corner Theater on February 14.

Renate Reinsve in Armand. Photo: IFC Films

This film seeks to convey a serious tone but ends up feeling more ridiculous. Tøndel, who is the grandson of famous filmmaker Ingmar Bergman, seems to parody the art cinema he might not fully understand. The overall mood is heavy and somber. Characters often speak in a slow, drawn-out manner, making it hard to grasp their emotions. There’s a moment of relief when Elisabeth (Renate Reinsve), overwhelmed by accusations against her son, spills out her frustration through laughter, revealing her humanity.

The film opens with a suggestion that language can mask deeper issues. A meeting at a school hints at a serious problem through vague phrases like, “if this blows over…” and, “what’s the procedure in these circumstances?” This lack of clarity quickly escalates, calling Elisabeth in to discuss her son Armand’s recent behavior. We learn of a troubling allegation from a fellow student named Jon, which complicates matters further as Elisabeth has personal ties to Jon’s family.

Tøndel’s direction hints at deeper meanings but struggles to communicate them effectively. The film raises issues around accusations and celebrity status, particularly how they can affect a woman who isn’t even at fault. However, unlike other films that tackle similar topics with depth, like Radu Jude’s Bad Luck Banging, or Loony Porn, Armand feels isolated from reality. Instead of facing social issues head-on, Tøndel creates a boxed-in atmosphere that seems self-serving.

This approach might have worked if the direction didn’t come off as overly pretentious. Shots are often composed with parts of characters cut off, and the dim lighting can obscure who’s on screen. As the story progresses, the school environment becomes increasingly shadowy, mirroring the tension within the plot. Unsettling music increases the feeling of dread that permeates the film.

In a climactic scene, Elisabeth is confronted by a group in the hallway, raising the stakes. It feels like an explosion of tension is about to occur, but it doesn’t lead to a clear resolution. Instead, after escaping, Elisabeth walks into a heavy rainstorm, a symbol that feels quite on-the-nose. The film throws unexpected twists at the audience, yet they lack cleverness or impact. In the end, Armand feels trapped by its own lofty attempts at storytelling. Despite these issues, Tøndel shows potential as a director, creating an eerie atmosphere, but he fails to fill it with genuine emotion or realism. Ultimately, the film confuses bizarre strangeness with true artistic adventure.