Most Religious Groups Support Abortion

How does a community and the families within it respond to a nearly unspeakable accusation? How do you treat everyone with dignity? How do you suss out the truth? Do you need to? “Armand,” the Norwegian submission for The Academy Award’s best international feature film, sets out as though it is interested in answering those questions. The film opens with a young teacher, a principal, and a school staff member wondering what they are going to do. Armand has done something again. The parents are called in. The film’s premise is that Armand was accused of hitting Jon in the bathroom when Jon said he didn’t want to play with Armand. There are many additional revelations about the context, the relationship between Armand and Jon’s families, and the history of Armand’s family. There are accusations upon accusations that both indict and exonerate the boys and the adults around them. But these revelations eke out. It feels like filling up a mug from a leak in the sink. “If you want us to know what’s happening, just tell us,” I felt like shouting at the screen more than once. The film’s first act works well. The cinematography is ragged, framing its subjects well but always just off from what we’d expect. Too close, or the light is just wrong. It felt like how I imagine it would feel to have my child accused of something horrific.  And when the parents first start talking the tension is terrific. Those first few drops of exposition in the mug were thrilling. Oh there’s something happening here; it’s complicated and interesting.  Thea Lambrechts Vaulen, plays Sunna, a young teacher in over her head trying to manage the meeting between Armand’s mother, Elisabeth, played by Renate Reinsve, and Jon’s parents Sarah and Anders played by Ellen Dorrit Petersen and Endre Hellestveit.  Vaulen is particularly effective. She has been sent on a mission by her principal, Jarle, to make sure the whole thing blows over. Watching her struggle to navigate this while the parents are processing what’s been said is captivating. But it just keeps going.  The film’s entire second act consists of learning the basic facts of what has happened and the context around it. This is a complicated situation, and as a viewer I’m interested to see how the compelling characters navigate that situation. But the screenplay seems mostly interested in telling you the information. As though learning that Armand “plays doctor” at school is enough to compel me to the film’s ending. But once the audience finally understands the situation, the third act begins and flies wildly off the handle into surrealism, including two interpretive dance numbers, three over-the-top metaphors, and five straight minutes of Anders’ mother laughing.  The movie feels so desperate to be deep that it forgets to be about anything. It’s the first film of director Halfdan Ullmann Tøndel, so perhaps the bold ideas and beautiful cinematography will be wielded for a more worthwhile story next time. The film is entirely in Norwegian. And its English subtitles include a fair amount of profanity, though not an overwhelming amount. And the accusations that fly include suicide, alcoholism, and sexual assault. So these are adult themes. The film is R-rated, but not an egregious one, it pretty well all takes place in a parent-teacher conference.  I can’t imagine ever showing this to my kids. The themes are hard ones, and the film has nothing worthwhile to say about them. Two out of five stars. Armand releases in US theaters on February 14, 2025.

Actor and activist Sean Penn can certainly never be faulted for the passion or sincerity of his convictions. Much the same could be said for entertainment commentator Sean Hannity. But civility is hardly a word often associated with either. So I wanted to point out an important conversation between the two Seans that occurred last night on Fox News. Hannity had learned that Penn was filming a documentary in Ukraine when the conflict began. And reached out for an interview, and while Penn started the interview by telling Hannity that he didn’t trust him. But Penn eventually discusses how as an American he has a luxury “to indulge my lack of trust, which it becomes a petty thing.” But that witnessing the resistance of the Ukrainian people he noted that they didn’t have that luxury. The two merely agreed to disagree about the role President Biden has played in the conflict, and focused instead on their shared commitment to the good of the people of Ukraine. While it might be sad that a simple civil conversation is worthy of note, the reality is that this level of discourse is something which we would do well to aspire to more often. Perhaps it’s good we are gaining the perspective to see it.