Few films sustain an air of quiet menace as effectively as Armand, a slow-burn thriller that begins with an ominous invitation and spirals into something far more psychologically intricate.  Norwegian director Halfdan Ullmann Tøndel makes his feature debut with a film that, at times, recalls the moral ambiguity of Doubt while forging its own path through the fog of perception, bias, and social expectation.  What starts as a seemingly straightforward drama—a mother summoned unexpectedly to her son’s school for a mysterious meeting—quickly transforms into a tense exploration of parenthood, power dynamics, and the stories we tell ourselves to make sense of the world.

Renate Reinsve (Presumed Innocent), already a magnetic presence in The Worst Person in the World, delivers another gripping performance as Elisabeth, an actress whose personal scandals have left her reputation bruised.  Called into an after-hours meeting with the parents of her son’s classmate, she finds herself navigating an increasingly volatile conversation about an incident involving their children.  Was it just innocent roughhousing, or something more troubling? With every exchange, the line between truth and assumption blurs, and Reinsve expertly portrays a woman who is both fiercely protective and deeply uncertain, caught between external judgment and her own self-doubt.

Tøndel, the grandson of cinema legends Liv Ullmann and Ingmar Bergman, directs with an unflinching eye, favoring long, uncomfortable takes that force the audience to sit with the shifting power dynamics at play.  The film’s dialogue is razor-sharp, oscillating between polite civility and barely concealed hostility as Elisabeth attempts to decipher the real accusations buried beneath layers of subtext.  Ellen Dorrit Petersen and Endre Hellestveit, as the parents of the other child, simmer with controlled fury, while Thea Lambrechts Vaulen, playing an overwhelmed teacher caught in the middle, adds another layer of unease.

Technically, Armand is meticulous in its construction.  Cinematographer Pål Ulvik Rokseth frames the sterile school interiors with stark precision, emphasizing the emotional detachment of the setting.  Alva Brosten’s costuming choices—particularly Elisabeth’s squeaky, attention-grabbing coat—subtly reinforce the character’s underlying tensions.  Meanwhile, Ella van der Woude’s score hums just beneath the surface, heightening the film’s discomfort without overpowering its carefully measured restraint.

That restraint, however, occasionally works against the film.  Armand meanders at times, particularly when it drifts into Elisabeth’s inner psyche.  While her personal anxieties and past failures are essential to the story, some of the more abstract, dreamlike sequences feel at odds with the tightly wound tension of the central conflict.  The pacing may test viewers accustomed to more conventionally structured thrillers, but for those willing to sit with its ambiguities, the rewards are significant.

The film made its world premiere in the Un Certain Regard section at the 77th Cannes Film Festival, where it won the prestigious Caméra d’Or for Best First Feature.  It was later selected as Norway’s entry for Best International Feature Film at the 97th Academy Awards, making the December shortlist but ultimately missing out on a nomination.  Still, its recognition on the festival circuit speaks to the weight of Tøndel’s vision and the film’s undeniable impact on viewers and juries leading up to the final vote.

Armand leaves its audience much like its protagonist: unsettled, questioning, and grappling with the messy, unresolvable nature of human interactions.  It doesn’t offer easy answers—nor does it try to.  Instead, it challenges viewers to examine their biases and discomforts, making for an experience that will follow you home and nag at you long after the final frame.  While it may not be universally satisfying, its performances and thematic depth make it an undeniably compelling psychological drama.  Tøndel’s debut suggests even sharper work to come, and Reinsve continues to cement her status as one of the most fascinating actors working today.