Getting to interview one of my favorite actors, Renate Reinsve, was a certifiable “pinch me” moment. She starred in one of my all-time favorite films, 2021’s “The Worst Person in the World,” and it was in picture that I first took note of her. Whenever she is onscreen, it is electric in a way that reminded me of Liv Ullmann’s work in “Persona.” Both performers are remarkably skilled at transforming themselves through the physicality of their characters. This is ironic, in a way, since Renate’s new film “Armand,” is directed by Halfdan Ullmann Tøndel, the grandson of Ingmar Bergman and Liv Ullmann.
In “Armand,” Renate plays Elisabeth, an actress whose personal life does not have a good reputation. When she is called in to her six-year-old’s elementary school, in response to a sexual assault her son Armand allegedly inflicted on another child, what comes to the surface is quite different than what we expect. The film places us on pins and needles the whole way through, in the best way.
“Armand” is playing in select theaters this weekend. Catch the film in Chicago at the Siskel Film Center. Learn more.
Your physicality in this role is amazing!
Thank you! I appreciate you saying that because not everyone can see how physical this role is. It’s really demanding as both a physical role and a mental one. Halfdan wrote this movie after we did a short film together eight years ago. When we made that film, we knew that we had a very strong artistic connection. We just had this understanding of human drama that you couldn’t put into words. He then started building this very emotional and physical character that was just pushing the limits. He would show me drafts of the development of this character, and he would say, “Okay, she’s gotten more intense now,” and then I could also give him feedback regarding the places I could go with this character, such as with the laughing scene. I told him that I didn’t think could do that.
But you did it! I’ve been there before. It’s a bit of madness, isn’t it?
Yes, it’s when you absolutely lose control. This is when you let go of how you are perceived, and that is really difficult as an actor because the body always wants to be comfortable and in control. The whole team came together with all of the other actors. It was great to have that support. So Halfdan and I found the character together. Of course, I had prepared to have a way to get into the character, and the sound guy told me a joke to initiate the laughter. It was really a team effort.
Can you talk about the movement required for the role, such when you are dancing, and the people are surrounding you?
For me, because I’ve been in the theatre, it’s very natural for me to express my emotions through physicality. It’s just in my bones. But unlike being on the stage, I had to do these motions many times. Halfton also loves exploring intense emotions when telling a story of losing control and being in the worst place in your life. I also think it’s very interesting to research and play with how to go about doing these scenes, but we do not usually do that many takes. However, we did do the laughing scene for ten hours
to get it perfect. I don’t think that was necessary. It was exhausting.
How did you collaborate with the cinematographer doing those scenes?
For the dance sequences, we had to collaborate and really find a way to move together. I really love it when the technical and emotional aspects of a scene come together. It’s so much fun when you feel that you’re collaborating to make the most of every small moment. It is the best feeling.
The film touches on a lot of truths about society, such as how we’re afraid to say things, even as you see that there’s a lot bubbling under the surface. Do you have any thoughts on what the film is trying to say about modern life?
I think the film touches on the idea that with so little information, we can judge someone, and in doing so,
we project onto others our own problems and our failures. It’s so easy to not take accountability and just judge people without actually trying to get more information and stay open. It’s so scary for people to not jump to conclusions, and to see things in a complex way. I see around us now in society, it’s so easy for people to see things in black and white, which is why things get so polarized. Then we lose an understanding of the other side. I think that it is so important to get more and more information. Even though you may not agree with someone, you need to educate yourself and try to stay open to complexities, even though it’s really hard. I think that is the best way to solve conflict.
How was it to be performing in such a contained space during the film?
By being in one location, I feel you get even deeper and more immersed into the character. You just get more sucked in because it was so claustrophobic and it was very dark. The space had its own feeling that I feel brought us deeper into the themes and the characters as a result.
What do you hope people see in this film and in your performance?
Well, like I said, I want people to see how important it is not to judge. Sometimes it is a healthy reflex, but it can also lead to consequences. With my character, I think you see how easily it is to be unaware of how you inflict your stress and your trauma and everything that you have onto others. The way to avoid this is to educate yourself and get self-awareness
Is there something you learned from your experience in this particular role that you are going to take with you?
I think for me, it was a lot about actually listening to yourself, especially for my character in that movie, because she follows what she thinks is right. The only way to achieve an inner clarity is to listen to yourself and take actions or make choices based on who you are. I think that was the core lesson for me.
