Armand: My Last Movie Before the Oscars, but It Tops My List

As the 2024 movie season comes to a close, just before the Oscar nominations are unveiled, Armand emerges as a film that demands attention. It is the last major contender of the year, and, without a doubt, the best film I have seen in this cycle. My top three films before the Oscars include The Girl with the Needle from Poland and The Seed of the Sacred Fig from Iran, meaning—remarkably—no American film has made my list this year. But what sets Armand apart is its deceptive simplicity and the way it morphs into a grand cinematic puzzle.

At first glance, Armand appears small. The story unfolds within the confines of a classroom, a bathroom, and a couple of hallways—hardly the vast landscapes or intricate set pieces that typically define epic cinema. Yet, as the film unravels, it expands, feeling as monumental as a world war. This is achieved not through spectacle, but through the depth of its characters’ interactions. We, as viewers, may not know these characters at the outset, but they know each other intimately, and their battle for dominance, truth, and understanding transforms the delivery of information into an utterly gripping experience.

One of the most fascinating aspects of Armand is its structure. If watched backward, the film would make more conventional sense, but it would lose its mesmerizing effect. The true thrill lies in the way the narrative reveals itself—information is doled out at a deliberate pace, ensuring that each revelation reshapes our perception of what came before. The tension never wanes; instead, it accelerates, keeping the audience in a constant state of intrigue until the very last moment.

Artistically, Armand is a triumph. It is rich with symbolism, using objects and seemingly mundane details to hold hidden layers of meaning that the viewer must actively interpret. Some might argue that the film’s structure is a narrative trick—after all, it throws us right into the heart of the conflict, ensuring that every piece of new information feels like a revelation. However, it never cheats the audience. The film doesn’t allow for passive viewing; it doesn’t let you sit back and think, “Ah, if only I had known that earlier.” Instead, it continuously challenges and rewards the viewer with its intricate web of clues and implications.

In the end, Armand is not just a film—it is an experience. It lingers, demanding reflection, interpretation, and discussion. As the Oscar season approaches, it stands as a testament to the power of storytelling that defies expectations, proving that sometimes, the most confined settings can contain the most expansive narratives.