Review: The Assessment

By Morgan Roberts

Director: Fleur Fortuné
Writers: Mrs. & Mr. Thomas, John Donnelly
Stars: Alicia Vikander, Elizabeth Olsen, Himesh Patel, Minnie Driver, Indira Varma, Nicholas Pinnock, Charlotte Ritchie, and Leah Harvey
Runtime: 114 minutes
Year: 2025

In her feature film debut, “The Assessment,” filmmaker Fleur Fortuné explores parenthood, the climate crisis, and an overreaching government. Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) want to start a family, but in a dystopian future, where reproduction is monitored, requiring hopeful couples to be assessed, determining whether they can have a child. Assessments are shrouded in mystery, so when Virginia (Alicia Vikander) arrives, she turns the couple’s world upside down.

As of late, a pull towards dystopian cinema has been a draw to contemplate our current world. In the film, Fortuné roots much of the reality to present day circumstances. Climate change, food scarcity, toxicity have shaped the world, and in order for life to carry on, Aaryan and Mia live in a scientifically adapted and supported society, away from the ravages of what humankind was doing to Mother Nature. With the decision to remain in society, they are subjected to the rules to retain order. One of those structures surrounds reproduction. In order to keep society functional, controlling how many people are using resources in said society is imperative. It is a truly striking element of the film particularly as for many Americans, their own reproductive healthcare has been radically dismantled over the last few years.

Himesh Patel and Elizabeth Olsen in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

While the film has science fiction elements, “The Assessment” is grounded in the humanness of its characters. The film, even with its expansive sets, feels claustrophobic. With Virginia’s arrival, the mood completely shifts. What once was a loving couple hoping to start a family, turns almost nightmarish as these three individuals are essentially trapped together with one individual holding immense power over the other two. Mia and Aaryan seem genuinely eager to please Virginia. From offering their bedroom when their original accommodations are not deemed worthy of her to allowing Virginia to witness intimate moments between the couple despite their reservations. However, the stoic and judgmental watch of Virginia from the first day feels less extreme than her tactics in the days that follow. By day two, Virginia begins to act like a child, getting a rise out of first Mia, and then Aaryan. This shift is where Vikander shines. She fully imitates children and childhood in an authentic manner, while also giving hints to Virginia’s true age, intellect, and motives. Vikander manages to capture the extremes of children: their uninhibited expressions, their boisterous personalities, and their precociousness. Too often, when an actor acts like a child, it becomes mimicry which borders on belittlement. Contrarily, Vikander is earnest in her work. Yes, she is clearly having fun, but never at the expense of children. Having kids is hard, but there is a reason people are drawn to parenthood. If Vikander was only the Veruca Salt mixed with Dennis the Menace type caricature, it would be hard to justify how hard Aaryan and Mia are fighting to become parents. Vikander understands the big emotions children have. Her performance is assiduous, whether she is putting on this act or portraying Virginia herself.

Alicia Vikander in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

This shift then alters the dynamics between Mia and Aaryan. Watching Patel and Olsen walk a delicate balance with their characters is fascinating. With Aaryan clearly being favored by Virginia, you understand Mia’s frustration and isolation, while Aaryan has sympathy, there is some delight in feeling as if one is doing everything “correctly.” It feels like an indication of figuring out the rules you have never been given. Olsen, coming off of her latest indie film “His Three Daughters,” has some of the more difficult work. Many times, she serves as an audience stand-in, voicing the absurd circumstances, while also allowing Mia’s prickliness to shine through. Her apprehension and exasperation never make her unworthy of our time and attention; nor does it minimize her desire for the journey of motherhood. When we are introduced to Mia, we see her drawn to her mother and we later learn her mother was sent outside of the society for some of her own radical beliefs. Early on, one can’t help but question her motives. Is motherhood truly something she wants or does she feel it will heal something in her after her own mother left? As the film progresses, you begin to sense the answer to both is likely yes, but it remains an earnest answer.

You begin to understand that particularly in later scenes between Olsen and Vikander, adding an interesting layer to the characters and an engaging topic of conversation about the film. The way these two actors interact is special. They are able to share glances and minimal dialogue to speech real volumes. The last twenty minutes of the film would not work if either actor was not tuned into the material. Luckily, Vikander and Olsen clearly are invested in these characters and their truths, making the final act of the film stirring and unforgettable.

Elizabeth Olsen in THE ASSESSMENT, a Magnolia Pictures release. Photo credit: Magnus Jønck. © 2024 Number 9 Films Assessment Limited, TA Co-Production GmbH, ShivHans Productions, LLC, TA2022 Investors, LLC, Tiki Tāne Pictures, LLC. Photo courtesy of Magnolia Pictures.

The film delicately balances these themes and largely conversations about society and humanity. There is a dinner scene which perfectly captures those ruminations as the couple of forced to confront their pasts while planning for their future. Moreover, as the film explores and plays with power dynamics, it is done so in a sensitive and thoughtful manner. Most of the film feels not just an exploration of the human experience but a philosophical quandary with no clear answers. That said, there are a few scenes which feel very specific and concrete in their messaging. Intimacy coordinator Katarzyna Szustow in partnership with Fortuné makes very clear the events of these interactions without feeling a need to dwell or blur the understanding of those scenes. The tactful handling of these scenes ensures the entire audience can engage and journey with this film.

“The Assessment” is a captivating science fiction drama which manages to confront our understanding of the human experience and how that journey can mirror our current circumstances. Olsen shines as a steady force throughout as Vikander gives an audacious and wild performance. As a work of cinema, the way in which “The Assessment” explores the precipice of motherhood and the different child-rearing expectations when exploring parenthood through a gender binary, the film manages to authentically capture the female experience. It allows for the desire of motherhood to meet the confluence of doubt, self-preservation, and discomfort, never minimizing the experiences of the women at the center of the film. It is refreshing and rare to find a film so honest in its depiction.

Grade: A-

Pair This Film With: “Advantageous” (2015) dir. Jennifer Phang; “The Pod Generation” (2023) dir. Sophie Barthes; “Tank Girl” (1995) dir. Rachel Talalay

You can now see “The Assessment” in U.S. theaters Friday, 21 March 2025