(Written by Intern, Miranda Zampogna)
Bubbling to the surface, The Assessment examines how the suffocating weight of parental expectation can warp even the most well-intentioned nurturers. Director Fleur Fortuné’s remarkable feature debut plunges into a meticulously crafted near-future dystopia where parenthood is a privilege, not a right. Under strict supervision, a couple’s seven-day assessment for child-rearing approval roils into a nightmare. An electrifying duo, stars Elizabeth Olsen and Alicia Vikander’s sheer depth of emotion and palpable intensity showcase a masterclass in nuance. Avant-garde flourishes also craft an enthralling experience, rivaling seminal psychological dramas such as Persona and Three Women. Captivating performances in this thought-provoking sci-fi will surely catch viewers in its undertow.
Unceasing, soft, watery rasps of a young Mia swimming alone in a vast cerulean ocean transition into the present-day version of herself (Elizabeth Olsen), obscured by waves. After struggling to shore, the vision of her beckoning mother disappears, establishing her greatest fear of abandonment. At her barren, desolate smart home, she works as a botanist alongside her husband, Arayan (Himesh Patel), a virtual pet designer. They welcome their live-in assessor, Virginia (Alicia Vikander), who will pass or fail them as capable caregivers. As she upholds strict regulations surrounding reproduction and abrasively dissects every aspect of their lives, her unnerving role-play of a child forces the couple to confront their deepest insecurities. While Mia clashes with the trial’s increasingly impossible tasks, this exercise elucidates her mother’s motivations for leaving this supposed utopia.
Exploring the complexities of humanity within a system designed to strip them of it, Fortuné lampoons societal hypocrisies and commiserates with universal anxieties of parenthood. Acceptance of what is natural and human is masterfully conveyed in recurring motifs of water, fire, earth, and wind, symbolizing the primal forces at play. Themes of nature versus nurture are externalised by Mia, who fears her flawed maternal instincts are genetic. Virginia becomes an allegorical figure, representing the chaos of both mother nature and societal oppression. As the two battle for dominance, it becomes a powerful metaphor for hubris. Ayaran’s virtual home office, dubbed his mind palace, where he tinkers with his augmented-reality pets, illuminates this larger concept. Here, the unintended consequences of technological intervention become provocative. In addition, Virginia’s toddler persona plays with this space like a toy, mirroring how she is playing with their minds. Ideas of trauma and regression, represented in Virginia acting as a baby and Mia’s seeking security in the water with womb-like associations, are also compelling.
Olsen’s subtle constraint exudes tension, perfectly projecting the controlling institution that largely rests on her shoulders to depict. All the stages of delirium and denial across her expressions are affecting. However, Vikander is given the meatier role, making this her calling card. She seamlessly transitions between the austere assessor, the inquisitive brat, and the troubled individual lurking beneath the surface. Her robotic demeanor, offbeat vocalization, and unsettlingly invasive actions create a fascinatingly disturbed character. The ability to embody these disparate personas, and not chew the scenery, is what makes her efforts truly memorable. A strong supporting cast includes actresses Indira Varma, Charlotte Ritchie, and Minnie Driver. Driver particularly stands out, turning in a flawless execution of the catty, cold-hearted, Evie, whose antinatalist proclamations also provide a biting commentary on societal disillusionment.
Exciting intercutting sequences and mesmerizing cinematography propel the story forward. Sparing uses of visual effects in Arayan’s virtual reality room are impactful. The score, layering droning hums and discordant gasps, with the sound design of wind whistling through cracks, evokes dread. Dialogue, while occasionally obvious, effectively builds the futuristic world. A resonant climax is the apex of Fortuné’s design, satisfying audiences, who will ignore the few forced plot points and logical discrepancies in the middle. Particularly, a few sexual encounters lead to contradictory behaviors and easily correctable misunderstandings. Despite too much being revealed about Virginia, a last-minute turning point for her arc still surprises. Sure to leave a lasting impression, The Assessment’s unique exploration of a disconcerting utopia challenges our current consequential interferences in both nature and privacy. With its strong performances, poignant visuals, and stimulating ruminations, this is a must-see for fans of science fiction and psychological thrillers alike.
The Assessment passes its test on Friday, March 21st, as this new psychological sci-fi scores high marks.
