When it comes to movies that revolve around parenting and adding the component of school, they are often written with the intention for its audience to pick a side. “Side” as in the elements of proper parenting, well-behaved children, and all the dynamics that go along with that. Then there is also the factor that much of what is seen is not true—presented in order to have its audience experience moments of feeling no forms of trust. Armand lacks “trust” in the strongest sense possible. Written and directed by Halfdan Ullmann Tondel, Armand is a drama that gives off a vibe of uncertainty that I especially felt with the film’s movement around the subject matter. It starts off as minor, and then gradually keeps introducing more moving parts to have you think otherwise. Armand is a blindsided direction into a dynamic of haunting value—as it tumbles toward the inevitable it becomes interesting, but also not so pleasant.

I did not expect pleasant themes with Armand. Especially with its plot structure. The film’s main character is Elisabeth (played by Renate Reinsve), and she is the mother of a young son, Armand. The film’s other characters of focus are Sarah (played by Ellen Dorrit Petersen) and Anders (played by Endre Hellestveit). They are also the parents of a son, Tom. The conflict occurs after an incident between Armand and Tom. Supposedly, Armand has assaulted Tom. This is a conflict that loops in for a two-hour intervention with Elisabeth and Sarah bashing heads. The boys’ teacher, Sunna (played by Thea Lambrechts Vaulen) struggles to keep the calm and find a better process to navigate the situation. It is one where two wrongs do not make a right, but sadly both sets of parents do not want to believe what the true scenario is. Disbelief is the cause of distrust.

The dramedy of Armand finds its opportunity to get even more detrimental when the higher authorities of the school must get involved in the matter. They are Jarle (played by Oystein Roger) and Ajsa (played by Vera Vljovic-Jovanovic). Both come together to think about where the issue remains at hand. However, the dynamics of the film and the individuality among the parents are what makes the film more serious than audiences expect.

The direction of the film has its moments where it makes a placefor joy and escapism, especially with the quirky personality from the performances of Reinsve and Hellestveit. Their behaviors and thought processes are questionable in the film’s matter. That is where the expansion of the problems to consider creates an underlying tone with more disturbing factors in Armand. The writing, along with the technological aspects of drama, is not only about finding a peaceful solution to a small problem at a school, but also to figure out if there are outside influences that may have led to such a problem with these two young boys. Is it a problem at home? Problems with parentalrelationships? Roads of darkness do not fade in Armand; they only create the puzzle to present the clearer portrait of what the matter may truly be. 

The puzzling fascination of Armand is all around the personality traits. Each conversation is one where the camera angles close in on the thoughts and perceptions of the characters. The setting of Norway also loops in a cultural feeling that leaves the audience curious about how matters of education and conflict are bound to be dealt with. It is subtle with its tone in broaching the subject of some realistic stressors.

Although it is not brilliant, it keeps its authoritative tracks to have presence. Conflicts of younger individuals boils over into many dynamics that spew repeatedly. There is no clear directionas to how the scenario should be handled. Armand does contain artistic value which levels responsibility in a fascinating light. Two-and-a-half out of four stars.