“Armand” review: Parents and teachers collide with school drama

Unprecedented the character of the Halfdan Ullman Tdyel, unprecedented, although it is waving on the horizon in the drama that is revealed in a sprawling primary school during the afternoon. His name was pronounced like prayer and right, and his mother, Elizabeth (Rennat, was re -being a “different man”), and a speed towards her son’s school, to attend an emergency meeting with the administration and the parents of another student.

The incident that stimulates the meeting provides a lot of drama in the center of “Armand”, but it was unprecedented, but it was only discussed, in periodic ways indirectly by teachers, more clear by the parents. It is also the entry point to a conflict between the chaotic people who leaks from the classroom and includes contracts from the history of the family, which slowly comes out of the parcel scenario in painful information drops. However, the resulting image is frustrating distorted watercolor.

To take it out of the road: the director Tondel is the grandson of the legendary Swedish director Instar Bergman and the Norwegian star Lev Oman. It is a heavy family burden that must be tolerated by a cinematic director, but this does not prevent Tändel from adopting bold and audacity ideas in its appearance for the first time, as it deals with a provocative topic with a wonderful surrealist approach in symbolism and subjectivity.

Then again, during the “Armand” restricted moments, the film really illuminates, which is the mysterious ambiguity of narrative information as well as the performance of a power of Reinsve, who goes to the soles of the foot, the other child involved in the accident with Armand. Elizabeth, the famous actress, reaches the school in daggers and lam, chasing the halls with heavy steps, and its tall framework, and the imposition of completely harnessing energy (Theia Lambricht Vollen), the sweet teacher, who was directed with the realization of parental diplomacy during this tense meeting.

Sometimes, “ARMAND” is almost a Scandinavian comedy for ethics, such as Sunna, the principal of the school (Øystein r) and its nurse (Vera Veljovic-Jovanovic) provides a dark comic lesson on how to run a meeting like this, with this, with this, with this , However, with this, with this mysterious proposals for reform, the disastrous desire to escalate and bleeding that will not stop flowing. An insecure audience may wonder whether the film is an accusation of very negative cultural standards or just photographing it. However, Elizabeth’s behavior during the procedures is unnatural and unusual, from a laughter that cannot be controlled with an almost fictional modern dance that it performs in the hallway.

These are the Trentel guidance options that raise “ARMAND”, and it impedes it – it can edit some of the most enjoyable ideas he plays here. But the cinematic photography of Pål Ulvik Rokseth is amazing, and natural light is used in school, and it is largely emptied on the summer vacation, which is the camera saturated with its strange mind. Trentel enables the camera to follow the characters below the corridors and then continue, wander around the corners, and find listening. It seems that he pulls and pushes the characters around the space, or drifted in the strange closest (the back of the head, arm), largely installed on Elizabeth where the conversations are revealed around it. In opening and closing shots, the camera takes a good look at the school’s outward appearance, with regard to this institution with a feeling of skepticism in the end – but in the end – with doubt.

But then, there is an annoying feeling that Tändel has no strong understanding of its articles. Surrealistic experiences are transmitted, not completely successful, and a carpet of the general message of the film touched on an uncomfortable mysterious water, especially when thinking about how violence victims are treated. Elizabeth is a mysterious figure, whose actions are drawn negatively, because she places holes in every claim quietly. But the film sympathizes with it to an extent that he does not feel profit, and it is unintentionally turning into an uncomfortable area. Perhaps this is the intention, but as a viewer, there is a feeling of an inherited feeling, until I bet on where the story goes.

The irreplaceable nature of this story that is thinking and its unusual implementation is worthy of its original, but the end of “Armand” disturbs its strong start, with a feeling that the guaranteed Trentel trend at first has slipped while making its way to a strange peak and questionable conclusion.