Summarize this content to 2000 words in 6 paragraphs in Arabic Halfdan Ullmann T\u00f8ndel widens his eyes and runs his hand through his hair: he remembers when he won the Cam\u00e9ra d\u2019Or \u2013 the award for best debut feature film \u2013 at Cannes last May, for his film Armand. The director had flown home to Oslo a few days earlier than planned.\u201cI woke up on Saturday morning to the\u00a0message that I\u2019d won the award,\u201d recalls the 34-year-old in his Oslo flat. \u201cI sprinted back to the airport, flew to Zurich where I\u00a0changed into my tuxedo in the airport toilet, and continued to Nice. A driver picked\u00a0me up and we sped towards Cannes, driving at 120 miles an hour.\u201dIt was only when he started getting text\u00a0messages of congratulations that he realised he had missed the ceremony. \u201cIt was funny when I got there though; all the winners were meant to do a group photo and we were squeezed into a lift taking us to the stage. So I was standing there in this\u00a0crowded space with legends like Francis Ford Coppola, George Lucas and Greta Gerwig. It was quite special.\u201dIt has been an extraordinary year for T\u00f8ndel. Armand \u2013 a psychodrama set in an\u00a0elementary school where a single mother (Renate Reinsve) is rushed to a crisis meeting after her six-year-old son faces allegations of sexual abuse \u2013 is currently making its way around the globe. \u201cIt is a\u00a0story about how we cope with trauma,\u201d says T\u00f8ndel of the film, which he wrote as well as directed. \u201cHow we construct and tell stories about our own lives and others\u2019, in order to deal with reality. The film explores grief and anxiety, obsession and madness \u2013 and the unstable state of mind.\u201dT\u00f8ndel was born in Oslo, the son of writer Linn Ullmann and Espen T\u00f8ndel, a\u00a0lawyer; his grandparents are Ingmar Bergman and Liv Ullmann, the legendary director and actress whose films together, such as Persona, Cries and Whispers and Scenes from a Marriage remain among the most influential in cinema\u00a0history. T\u00f8ndel remembers childhood summers spent on F\u00e5r\u00f6, the island off the east coast of Sweden\u00a0where Bergman lived and worked for 40 years. \u201cTo me, F\u00e5r\u00f6 was a magical and mystical place, a playground and a paradise. Every year on my grandfather\u2019s birthday we watched Charlie Chaplin\u2019s Modern Times in his\u00a0private cinema. His\u00a0imagination was great, and my own fantastical thinking as\u00a0a\u00a0child was stimulated by listening to him make up stories about witches and ghosts.\u201dIt was the same with his grandmother, now 86, with whom he still has \u201ca close relationship. She is playful and imaginative; we hang out and go to watch blockbuster movies together.\u201dMy grandma is playful \u2013 we\u00a0watch blockbusters togetherT\u00f8ndel\u2019s interest in film started when he was five years old and watched The Lion King. \u201cI saw it 10 times in the cinema and was completely immersed. I just wanted to\u00a0be there, to live in that world. Later, when I watched Modern Times with my grandfather, that was inspiring because it was political and commercial \u2013 and really funny.\u201d He also discovered something else in cinema. \u201cI was able to feel feelings that I didn\u2019t have access to in my ordinary life: I could finally cry or be angry or even afraid. It almost became a tool for me to feel things.\u201dHe tried to avoid film-making \u201cfor a long\u00a0time: being a director was the most stupid thing I could do. Why try it when it had already been done so\u00a0well in my family?\u201d\u00a0He studied media and communication at a\u00a0h\u00f8yskole, where one of the classes was in film. \u201cI\u00a0was hooked. After a year I applied for film school.\u201d Clearly, it\u2019s in his blood. \u201cThe greatest drug in life is being on set,\u201d he says. \u201cIt is where I feel most like myself. It is the\u00a0only time I\u2019m able to be fully present in the moment, with no thoughts on the past or the future. I remember shooting Armand; it was almost like being high. I felt my soul flowing freely through my body.\u201d\u00a0\u201cHalfdan is extremely imaginative and can be very specific with what he wants, but at the same time he can be very open to\u00a0new inspiration and interpretation,\u201d says\u00a0Reinsve, who came to fame as the luminous lead in The Worst Person in the World. \u201cHe makes brave choices and I love that.\u201d She first worked with T\u00f8ndel when the duo made a short film together in Sweden in 2016 (it was never shown and is\u00a0still on his\u00a0computer). They form part of a vibrant Norwegian film scene including directors such as Joachim Trier and Joachim R\u00f8nning. \u201cThere\u2019s a lot of great things happening in Norwegian cinema,\u201d says T\u00f8ndel. \u201cA lot of\u00a0new filmmakers from\u00a0my generation do really well \u2013 and compared to earlier generations we support\u00a0and help each other out.\u201dWhile filming, Reinsve had to do a\u00a0seven-minute scene in which she had to keep laughing hysterically throughout. \u201cIt\u2019s one of the toughest shoots I\u2019ve done,\u201d she says, but \u201cI remember we had a lot of fun\u2026 It\u2019s amazing to have a director that believes you can do scenes that are impossible.\u201dT\u00f8ndel made Armand after directing two short films, Bird Hearts in 2015 and Fanny in 2017. His influences for his full-length debut were films such as Angst\u00a0by Gerald Kargl, Ivan\u2019s Childhood by Andrei\u00a0Tarkovsky and The Virgin Suicides by Sofia Coppola. (He also mentions Stanley Kubrick and Lars von Trier among his wider influences.) He can relate to the\u00a0film\u2019s portrayal of an unsettled mind. \u201cA\u00a0malfunctioning fire alarm goes off at random times throughout the film. Despite knowing this, you still can\u2019t be sure if there is actual danger or not. It\u2019s a good metaphor for what it is like to be in an uncertain mind. I have experienced it a lot myself.\u201d\u00a0How does he deal with it? \u201cI have learned to not take it too seriously. A wise man once said that you should treat your thoughts with the same seriousness as what\u00a0you ate for breakfast three days ago,\u201d\u00a0he says with a laugh. He has had therapy, \u201cbut more than anything, my insights come from my own experiences. You mess up in life and you learn something from it. Then, hopefully, you can use it in some way. In art, for example.\u201dBergman was \u201cprobably the greatest film artist, all things considered, since the invention of the motion-picture camera\u201d, according to\u00a0Woody Allen, and his films won three Oscars and six Golden Globes throughout his career (Ullmann, too, has been nominated at the Academy Awards and at Cannes, and has won a Golden Globe). He was known as a \u201cdemon director\u201d \u2013\u00a0channelling darkness through his art as he\u00a0made existential work such as\u00a0The Seventh Seal and Wild Strawberries. Bergman had a famously short fuse and was demanding with his actors on set \u2013 he once admitted he could be \u201ccruel\u201d to them. Has T\u00f8ndel inherited any of that? \u201cI explore a lot of darkness in Armand and I guess I\u00a0am also a demanding director,\u201d he says. \u201cBut I am not a demon director. I want my\u00a0actors to push themselves as far as they can, but it has to be respectful and safe.\u201dHe is still digesting the film\u2019s reception. \u201cIt\u2019s been crazy. The film has travelled far beyond my wildest expectations. I had a\u00a0good feeling when we were shooting, but I\u00a0still couldn\u2019t have hoped for anything like\u00a0this. It\u2019s been overwhelming.\u201d Where does he see himself in 10 years\u2019 time? \u201cI would really love to have made two or three more\u00a0films. But most importantly I want to\u00a0be able to think less about the past, less\u00a0about the future \u2013 and more about the\u00a0here and now.\u201d\u00a0Armand is in cinemas in the US and Europe<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Halfdan Ullmann T\u00f8ndel widens his eyes and runs his hand through his hair: he remembers when he won the Cam\u00e9ra d\u2019Or \u2013 the award for best debut feature film \u2013 at Cannes last May, for his film Armand. The director had flown home to<\/p>\n","protected":false},"author":1,"featured_media":213697,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-213696","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/213696","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=213696"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/213696\/revisions"}],"predecessor-version":[{"id":213698,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/213696\/revisions\/213698"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/213697"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=213696"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=213696"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=213696"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}