Review – Armand (2024 Edinburgh Film Festival)

Sexual assault is an issue that society and institutions often fail to address seriously, with inadequate procedures in place to tackle such situations effectively. Armand is a 6-year-old boy accused by one of his close friends of crossing boundaries. The film centres around a meeting where the parents of Armand and the alleged victim meet with the school to see if the situation can be resolved.

When the film opened, it was visually striking. It begins with a camera mounted on the back of a car, locked in place as we see Armand’s mother, Elizabeth (played by Renate Reinsve from The Worst Person in the World), driving towards the school. Everything about this opening is incredible, from the cinematography to the haunting and chilling soundtrack. I was hooked.

Then the rest of the film unfolded. Not to say the entire film is bad, but I was left more perplexed than enthralled. I feel the film’s biggest issue is its use of humour. There are many scenes that I believe are meant to have a dark sense of humour. For example, one moment involves a serious conversation being interrupted by a nosebleed, but that scene just doesn’t work in any way whatsoever. Armand is tackling a serious subject matter and wants to comment on the failings of not taking these allegations seriously, but in turn, the film itself doesn’t take it seriously. To me, this kind of defeats the entire message of the film.

There is another scene involving a prolonged period of laughter, and I had no idea what I was supposed to feel during that moment. Was it meant to be horror, or was I supposed to giggle? This theme of not understanding what the film is trying to convey continues as it becomes more surreal. I felt nothing during these scenes and felt like the director lost the plot.

This is disappointing, as the film started so promisingly. The acting is great throughout, with Renate Reinsve standing out as Elizabeth. She brings this character to life in a captivating way. The cinematography is excellent, and some shot choices are truly creative and unique. For example, there’s a shot where a teacher is running down a corridor, and we see it reflected in a flower. I thought that was a creative way to showcase such a simple action.

But at the end of the day, why should you care? At times, I feel the film wants to say something meaningful, but its presentation is so muddled that it becomes kind of messy. There’s a great film here that addresses the issues I’ve mentioned before, including how people project their version of the truth onto others. However, by the time the random dance scene appeared, I was just lost.

★★

Playing as part of the 2024 Edinburgh International Film Festival / Renate Reinsve, Ellen Dorrit Petersen, Øystein Røger, Janne Heltberg, Endre Hellestveit / Dir: Halfdan Ullmann Tøndel / 15

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About the Author

Robert Ewing

Author

Rob is a freelance film critic and writer who specialises in Anime and Asian cinema. I have adored film since a young age, having watched films that were far too old for me, such as RoboCop, Die Hard, and Hot Tub Time Machine, to discovering the heights of foreign cinema through films like Headhunters and Battle Royale. Growing up with such a diverse catalogue of films that I cherished sparked my desire to discuss them. This passion eventually led me to become a reviewer. Dissecting films, speaking to filmmakers I admire, and showcasing the best of Asian and anime cinema is how I live my best and truest life.

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