‘The Assessment’ follows the unnerving process of trying to qualify for a child in a near future that has government controlled reproduction.
Having a child — or not — is one of life’s most critical decisions. It’s generally important that long-term partners be on the same page as disagreement is one of the leading causes of separation. Some pregnancies are planned, others are unexpected and some never make it to term. There are parenting classes and books that offer advice on child-rearing, as well as lots of relatives, friends and strangers who will share their sometimes unsolicited opinions. However, while some people require permission, there is no test measuring someone’s qualifications to be a parent — unless you adopt. In The Assessment, a successful couple’s application for a child has reached the next stage involving an in-person evaluation.
In a dystopian future in which resources are scarce, humanity has achieved longevity but restricted reproduction. Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) are a married power couple. He programs realistic virtual animals for the world and she perfects greenhouse farming. They believe they’re ready to have a child and are excited their application has finally been selected for the next stage of the process. Over the next week, Virginia (Alicia Vikander) will be their assessor. She lives in their home, observes every aspect of their life and conducts dramatic trials to test their parenting abilities. At the end of seven days, she decides whether they’re suitable candidates for a child. Her decision is final.
From the moment she arrives in their home, Virginia emits weird energy. She appears very serious and detached with a smile that is cold and unfeeling, making the couple feel very uneasy from the outset. Her questions are unnervingly personal, ranging from their relationships with their own parents to intimate details about their sexual activity. Insisting on observing all their interactions, their discomfort with proceeding normally in Virginia’s presence is unmistakable. Then, without warning, Virginia arrives at the breakfast table mimicking a troublesome toddler — a character she assumes for most of her stay. In this role, she tries to push them over the edge and drive a wedge between their united fronts. But at some point, one begins to wonder how far is too far and whether it’s even worth it.
Mia and Aaryan accurately describe the assessment process as a nightmare. Though anyone who’s spent time with children can see they’re making some very basic mistakes, primarily when it comes to keeping an eye on their pseudo-daughter. However, Virginia doesn’t play fair either as she requests unrestricted access to their home and work spaces, and then uses it to wreak havoc — a privilege no one would ever grant an actual child. Yet, as the couple becomes immersed in the role play, they have some unexpected bonding moments with Virginia who is troublingly reciprocal in the quasi-parent-child relationship. The whole process is designed to make viewers uncomfortable, blurring the lines of professional boundaries and raising questions about Virginia’s competence as an assessor over the couple’s fitness as parents.
Fleur Fortuné’s feature directorial debut not only achieves extreme tension levels, but astoundingly sustains them through most of the film. Mia and Aaryan are constantly on edge, and the audience is right there with them. Olsen and Patel are excellent, genuinely conveying the frustration of being placed under the microscope and the struggle to continue with the charade or risk forfeiting the chance at something so important to both of them. Meanwhile, Vikander’s performance is enthralling as she convincingly portrays these two contrary personalities to the point that they’re equally disturbing.
The Assessment had its world premiere in the Special Presentations programme at the Toronto International Film Festival.
Read other reviews from the festival.
Director: Fleur Fortuné
Starring: Elizabeth Olsen, Alicia Vikander and Himesh Patel
