Alicia Vikander’s multifaceted role in The Assessment deserves your attention.
The performance by the Academy Award-winning actress in Fleur Fortuné’s initial directorial venture could be the most daring move of her career, given the sci-fi thriller involves her embodying multiple personas within a single character. Initially, she plays Virginia, a role that evaluates whether couples like Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) are suitable for parenthood in a future where resources are scarce. Throughout a 7-day evaluation period, Virginia transforms into a childlike character to test the couple, gradually escalating the disturbing nature of these tests.
Initially, Vikander harbored questions about her role during every stage of filming, yet she confidently stepped into the peculiar character, relying on her creative flow and her teammates’ support.
Vikander expressed to The Hollywood Reporter that it felt somewhat akin to taking a bold step without knowing the outcome, saying, ‘I’ll give it a try.’ She added, ‘I hope people find it entertaining – until they don’t. I hope the impact will be even more profound when it comes unexpectedly.’
Come summer 2023, I found myself brimming with creative fuel for my character’s child-like aspect. With a toddler buzzing around at home and expecting my second bundle of joy, I drew upon my very own maternal journey to breathe life into the role.
As a gamer, stepping into the role of a parent at home, I’ve come to understand the authenticity and occasionally absurd circumstances that parenthood presents. There are challenges too, as Vikander points out. During the filming of this specific project, I was deep into my second pregnancy. This experience added an extra layer of inspiration for me, making it a unique and memorable time in my journey as a parent.
In a recent chat with THR, Vikander reflects on the 10-year anniversary of Alex Garland’s Ex Machina, along with her forthcoming collaborations with Olivier Assayas and Jude Law in The Wizard of the Kremlin.
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It seems you excel in films that focus on a small cast within a futuristic home, and your roles are particularly compelling when they hold ultimate power. Did the similarities between The Assessment and Ex Machina not strike you?
(Grinning.) Absolutely not, I acknowledge the differences in this movie, yet there are indeed some resemblances as well.
In contrast, this time around, it’s crucial to include a captivating dance scene, which unfortunately Ava didn’t experience in the film Ex Machina.
Yeah, I didn’t get to be in the last one!
Is it true that you tried to talk Alex Garland into including Ava in that scene?
It’s quite likely that I took part in it. The rehearsals I observed sparked a desire within me – “I yearn to be involved, to be present. That seems incredibly enjoyable.” (Chuckles.) Generally speaking, when others watched it, they too felt the urge to participate.
At around age 10 or 11, I remember questioning my mom about why there’s a test to get a driver’s license but not one to become a parent. This question stemmed from concerns about a classmate who was being neglected at home. Looking back now, it seems that idea had some flaws, doesn’t it? Did you find the movie’s premise thought-provoking when you first read it as well?
Absolutely, this film touches on several profound themes that lurk in its backdrop. For instance, it delves into the motivations behind having children, given the ever-shrinking resources globally. It also explores the rights of individuals regarding their own bodies and choices, raising questions about whether it’s ethical to bring a new life into the world when there are so many challenges. Interestingly, despite social differences, the desire to have a child is often considered a fundamental human right. The film then poses the question: what if this basic right is denied?
During rehearsals, another thought-provoking topic emerged: the assumption that having a child is a choice. However, many people worldwide find it difficult to conceive when they are ready. This highlights one of the film’s key themes: the gap between our expectations and reality.
As someone who found myself both crossing into parenthood and guarding its threshold, how did I manage that delicate balance? I hope my analogy doesn’t confuse too much.
In my own experiences, many of the thoughts and queries I grappled with became symbolic metaphors. For a few years, as I faced challenges conceiving, these questions gained clarity. It felt like asking, “What sacrifices must we make? With an uncertain vision of what the future might hold, what is it about this child that I truly desire? Is it for personal reasons or something deeper?” During those difficult times, Fleur [Fortuné]’s inspiration to create this film becomes clearer. She has openly shared her journey of trying to conceive for five to seven years. When you introduce a sci-fi genre or alter the storyline slightly, it allows for a more subtle exploration of such topics. These ideas and questions become amplified, especially when striving for something that society often considers the most natural choice.
In light of your situation back then, did you find it necessary to separate different aspects of your personal life more often compared to normal?
From my perspective, there’s a certain amount of repetition in the actions you often perform. Many individuals have pondered, “What will viewers learn from this movie?” In my opinion, it’s highly subjective. My primary interest lies in following the narrative arc of the character I’m embodying. The intriguing aspects that kept me engaged while reading the script were: “Where is the story headed? Who is this woman and what are her intentions? Is there a backstory to any of this?” These elements piqued my curiosity, and the character experiences some extreme moments in the film. By the end, we reveal the truth behind this woman’s actions, offering a glimpse into her inner world.
Were you inspired to give Virginia’s character a specific childlike age by your eldest child at home, or was that decision made jointly with the script?
Indeed, I noticed the age seemed flexible in the story. I assigned various numbers to different scenes, which fueled my creativity while reading. It felt as if the protagonist was transitioning through multiple ages, making it a challenge for her and part of the narrative. As a parent myself, I could relate to the authenticity of parenthood and the peculiar circumstances that can occur in such a role. The challenges were not lost on me either. What struck me most is how candid and straightforward we are when we’re young. However, children everywhere served as an inspiration for me. To add to this, I was around four or five months pregnant with my second child during the filming of this project, which provided an additional source of inspiration for me throughout the process, making it a unique experience.
In essence, Virginia adopts the style of a true-to-life actor, often pushing the boundaries excessively when portraying a child role. Could this be the most authentic representation of this technique in her work?
I portrayed a character who employed method acting, though I don’t identify as such. Nevertheless, I’m passionate about delving deeply into roles and venturing into uncomfortable territories, knowing that the end result will surprise me. However, when the camera stops rolling, I detach myself from my work to rejuvenate for future performances. If anything lingers, it’s the heartfelt tales shared by the film’s crew members, as the subject matter encouraged a deep sense of camaraderie among us.
In the role I took on, I employed method acting techniques, but I don’t classify myself as a method actor. Yet, I find immense satisfaction in immersing myself fully into my roles and exploring unfamiliar territories that make me uncomfortable. I am aware that the outcome will be unpredictable. After wrapping up for the day, I disconnect from my work to refresh myself for the next challenge. If anything lingers, it’s the poignant anecdotes exchanged among the film crew, as we found ourselves opening up due to the subject matter.
Did Elizabeth Olsen’s and Himesh Patel’s characters take a moment to understand that Virginia wasn’t acting out of character for real? Have you ever experienced a similar situation on set, where you found yourself working alongside a method actor who remained in character throughout?
Have you ever had an instance on set where you realized you were working with a method actor who was truly in character and not acting? This is a situation that Elizabeth Olsen’s and Himesh Patel’s characters found themselves in, as they took a moment to understand that Virginia wasn’t pretending.
Indeed, on one occasion, I found myself adopting the sentiment, “As required by all.” I generally allow others the freedom to act independently. Consequently, I opted to keep a distance, yet remained observant, giving them the space to carry out their actions.
Were there moments when everyone, even while keeping up with you in child’s play, would occasionally burst into laughter?
(Chuckles.) The pivotal kitchen scene is where she undergoes a transformation into multiple versions of herself, and although some aspects were written, it wasn’t extensive. This made it feel more like a live performance with an air of anticipation, as everyone wondered, “What will she do next?” Consequently, I was quite apprehensive leading up to that day, I have to admit. It felt akin to taking a leap of faith, and I thought, “Alright, let’s give it a go.” It was rewarding when people found it humorous, as the absurdity of it all resonated with them. We all recognized this in the script, and I wanted it to shine through, especially given the sensitive subject matter we were addressing. So if you can find yourself asking, “What’s happening here?”, that’s fantastic! If you can laugh at it – even better! Hopefully, the impact will be greater when the climax hits, providing an even more powerful punchline.
As a fan, I found the scene where I, as Elizabeth, bathed Virginia’s character who portrayed a child-like role, incredibly captivating. It was so convincing that it almost felt real, and for a moment, I forgot we were merely acting in some sort of twisted parental application process. During filming, did I have confidence that the audience would believe in this mother-daughter scenario? Yes, I did, but there were moments of doubt. I wondered if the unusual circumstances might be too much for the viewers to fully immerse themselves in our story. However, the strength of our performances and the skillful direction seemed to dispel those doubts, making the final product a truly compelling watch.
Absolutely, there’s a twist. When I imagined or envisioned the events on that day, I had faith that it would succeed. I was aware that it would be a novel experience, something I needed to prepare for before stepping onto the set. It’s fascinating that you brought up the bath scene. As the story unfolds, it becomes clear that there is a profound bond between these two characters; they are just unaware of it in that scene. However, it was during this shared moment that they discovered something in each other that resonated, providing a sense of comfort and an unspoken understanding. From early discussions with Lizzie [Olsen], we aimed to create instances where we could infuse these characters with this deeper connection, hopefully drawing the audience in more profoundly.
Even the way you walked and dangled your arms without a purposeful movement was spot-on.
(Chuckles.) Indeed, I noticed that too. Even in the most authentic portrayals, I often tap into my role from a very bodily perspective. This time, however, it was amplified significantly. When you inquired about my faith or assurance that this performance would resonate, it came to me as I began to embody that physicality. Essentially, it was an effort to be as genuine as possible within my own world as the character. It was about maintaining authenticity without veering into caricature. Therefore, a crucial aspect was not backing down from making it feel real.
Earlier on, I brought up Ex Machina. Can’t believe it’s been a decade since then! Are you at all taken aback by how swiftly we’re moving towards a future dominated by artificial intelligence?
Indeed, when I encountered that aspect a decade back, it was a topic that had long piqued my curiosity. Consequently, I was thrilled to contribute to the movie, and I distinctly recall encountering individuals who praised the film’s thoughts and ideas as remarkably insightful. It wasn’t long before the wider world began to catch up, and it’s fascinating to revisit it now. The concept of crafting an AI persona from Google searches, at that time, was met with skepticism, with many expressing disbelief. However, looking back five years, the world has already undergone significant transformation, a development I anticipated given my belief in the pace of change during our lifetimes.
As a passionate admirer, I can’t help but ponder over the challenge that lies ahead in bringing Olivier Assayas’ “The Wizard of the Kremlin” to life. Is it perhaps the key factor that this story is being told by a filmmaker whose work I trust?
Absolutely! As soon as he phoned me, I responded with an immediate affirmative. I recognized that he was adapting Giuliano da Empoli’s book, which I had read when it first appeared. This novel is deeply touching and significant, and I feel a great sense of pride to be part of the team bringing this story to life. With Olivier and all the other talented actors on board, I felt confident that we were in capable hands.
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The Assessment is now playing in movie theaters.
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2025-03-21 23:55