A striking production design and a concept with a timeless relatability give THE ASSESSMENT a strong foundation. Unfortunately, various thematic strands never cohere into a satisfying harmony. But even if THE ASSESSMENT isn’t greater than the sum of its parts, engaging performances from the lead cast make Fleur Fortuné’s debut feature film eminently prescient and immersive.
After opening with a memory of her mother, we follow Mia (Elizabeth Olsen) to the semi-futuristic home she shares with Aaryan (Himesh Patel). The house is sufficiently avant-garde, with its Miro-esque stained glass windows, to appear futuristic yet familiar. It becomes clear the couple inhabit a world ravaged by climate change: voice assistants make numerous references to atmospheric conditions “in the dome”, and botanist Mia decides on a dinner plan based on her having “cultivated a new algae”. The conception of children is forbidden, only being allowed ‘ex utero’, and also rendered physically impossible based on necessary dietary supplements provided by a totalitarian government (the oppressive elements of which are never really seen directly). Mia and Aaryan are to be assessed for their suitability as parents, with the seemingly stiff Victoria (Alicia Vikander) arriving to evaluate them over seven days.
“…as the film progresses and the tone darkens, THE ASSESSMENT also captures the level of introspection prompted by being responsible for another human’s wellbeing. It is via this avenue the film’s more societal-scale concerns are communicated.”
THE ASSESSMENT captures the experience of parenting in some wonderfully observed small moments. As Victoria pretends to be a toddler to test the couple’s patience and tolerance, Vikander pitches her performance superbly. The feeling of dealing with an entirely mentally competent yet emotionally irrational person is displayed with a combination of accuracy and humour. Patel and Olsen also capture the sheer joy at monumentally tiny victories secured in the face of naive stubbornness and the crippling self-doubt that can quickly follow. However, as the film progresses and the tone darkens, THE ASSESSMENT also captures the level of introspection prompted by being responsible for another human’s wellbeing. It is via this avenue the film’s more societal-scale concerns are communicated.
References are made to Mia’s mother having been cast out, clearly as a rebel against the authoritarian forces maintaining this habitable slice of the world. Gradually, the film shows how this world is a cheap imitation of the real (such as with viscerally horrible food, which shots linger on) and how invasive this society is to its citizens. Victoria’s performance is the more benign (at first) embodiment of this. The more profound malevolence of this make-believe is communicated explicitly, such as state-invited guests to a dinner party including Aaryan’s ex-partner, Serena (Charlotte Ritchie) and the guests’ presence being required. However, there are also symbolic examples, such as the inappropriate and growing sexual tension between Victoria and each member of the couple, this violation of physical and emotional space imposed on their life by the state in the name of maintaining a healthy civilisation. Further insight into Victoria’s motivations clarifies this angle later in the story.
The thesis of THE ASSESSMENT is that such a society is a cheap imitation of real life, freedom, love, and family. Another explicit example of this fakery is Aaryan’s virtual workspace, where he designs virtual pets (a secondary story element outlines his inability, so far, to recreate the feel of fur properly). In an example of the film’s slight overreach, this space seems intentionally hellish. Rather than the benign nature of Star Trek’s holodeck or the tech-aesthetic of the X-MEN films’ Danger Room, Aaryan’s space never appears as anything other than a nightmare liminal space. The setting – revisited throughout – seems to exist in this mode for no other reason than to add creeping horror to the scenes set within, even though this is a daily working space.
“The film is at its best when examining the intensely personal stakes of the lead couple. In this regard, Olsen’s emotional range throughout the film is beautifully engaging.”
The result of this melange of competing elements with mixed execution is that grander ideas around the future of humanity, the effect of inequality, inequity, government or climate change are too vague to make much impact. The film is at its best when examining the intensely personal stakes of the lead couple. In this regard, Olsen’s emotional range throughout the film is beautifully engaging. After nearly a decade of delivering compelling but unremarkable work within the Marvel Studios machine, it’s refreshing to see Olsen display the emotional dexterity that made her film debut in MARTHA MARCY MAY MARLENE so noteworthy back in 2011. Olsen’s performance and Vikander’s chameleonic Victoria are the film’s greatest strengths, even in its weaker moments.
THE ASSESSMENT has enough interesting ideas to bolster the excellent central performances and basic premise. It never quite rises to meet its loftier concerns, but intelligent writing and captivating performances result in something well above a passing grade.