Elizabeth Olsen Returns to Independent Film with The Assessment

Prior to gaining attention from Marvel Studios, Elizabeth Olsen made an impressive debut in the film world with a standout role in Sean Durkin’s highly praised independent movie, “Martha Marcy May Marlene” (2011).

In 2014, Elizabeth Olsen was approached by two significant film universes: the MonsterVerse through Gareth Edwards’ Godzilla and the Marvel Cinematic Universe under the Russo brothers’ Captain America: The Winter Soldier. Of these franchises, the Marvel Cinematic Universe has since become her primary focus, contributing to six movies and three Disney+ series as Wanda/Scarlet Witch. This includes the Emmy-winning series WandaVision (2021) and animated shows What If…? and Marvel Zombies. Despite this extensive involvement, she also found time for critically acclaimed independent films, like Taylor Sheridan’s Wind River (2017) and Ingrid Goes West (2017).

After Sam Raimi’s “Doctor Strange in the Multiverse of Madness” (2022) seems to have temporarily halted the live-action appearance of Wanda, portrayed by Elizabeth Olsen, she has moved back to independent films. Her upcoming projects include “His Three Daughters” in 2023 and “The Assessment,” a critically acclaimed sci-fi drama by Fleur Fortuné, currently showing in theaters. These new roles offer a fresh outlook for Olsen.

Six years ago, I came to understand something significant: given how much time and space Marvel occupies in our world, it’s crucial for me to pursue projects outside of Marvel that align with my personal preferences. The choices we make shape the artist within us, which wasn’t something I considered when I started my career. Now, the chance to rejoin movies like [The Assessment] is a testament to the collaborators I admire and my own artistic inclinations.

In a future where scarcity of resources limits family growth, the story unfolds with Mia (played by Olsen) and Aaryan (Himesh Patel) submitting to a rigorous 7-day evaluation conducted by Virginia, portrayed by Alicia Vikander. This assessment aims to ascertain their readiness for parenthood. In an unusual approach, Virginia immerses herself into the role of a childlike character, intentionally provoking Mia and Aaryan in every imaginable manner.

Olsen expresses being captivated in a similar manner as when she read ‘The Lobster,’ referencing the Yorgos Lanthimos film she was associated with before ‘Avengers: Age of Ultron’ diverted other plans. She finds ‘The Assessment’ to be somewhat disconcerting, but the right balance of entertainment, whimsy, and absurd humor made her eager to discover where the story would lead.”

“Olsen shares that she was as intrigued by it as when she read ‘The Lobster,’ alluding to the Yorgos Lanthimos movie that preceded ‘Avengers: Age of Ultron.’ She admits that ‘The Assessment’ can be unsettling, but its blend of fun, games, and absurd humor left her eagerly waiting to see where it was headed.

Regarding her Marvel character, which fans adore, Olsen has confirmed that she won’t be featured in the Russo brothers’ upcoming films, “Doomsday” and “Secret Wars”. These movies are set to start filming in London soon, and Olsen recently returned to the U.S. after completing Sam Esmail’s “Panic Carefully” in London. Instead, she will be moving on to film a pilot for FX titled “Seven Sisters”.

In a recent chat with THR, Olsen elaborates on her lack of surprise at Vikander’s innocent portrayal, and goes on to share her reasons for joining forces once more with director Durkin in the FX’s Seven Sisters pilot, at this particular moment in time.

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I had a conversation with Alicia Vikander about The Assessment sharing some similarities with Ex Machina, but upon reflection, there’s also a hint of Martha Marcy May Marlene. In both narratives, an unpredictable character is introduced into a couple attempting to conceive, and things soon take a turn for the worse. Have you ever drawn parallels between Mia and Sarah Paulson’s character in Martha?

(Chuckles.) Oh, absolutely not! I didn’t make that connection whatsoever. It’s been ages since I watched that film, and your mention of it now has me chuckling. This is a fresh thought for me.

At around the age of 10 or 11, I remember questioning my mother about why there’s a test for obtaining a driver’s license, but none for becoming a parent.

What an astute young boy.

To be honest, the story was quite sad as it stemmed from a classmate who everyone knew had a difficult home situation. This film seems to address my childhood curiosity by illustrating how distressing that experience might be. Did you find the script of the movie somewhat uncomfortable during your initial reading?

Just as the enigmatic world of “The Lobster” drew me in, so did the peculiar charm of “The Assessment.” Initially, its unsettling nature made me a bit uneasy, but the fun, the games, and the absurd humor hooked me. I’m always intrigued by films that establish their unique set of rules for characters to navigate, and this one certainly did not disappoint.

Science fiction has a unique quality that makes it distinct from our reality: it offers enough distance for us not to constantly compare or critique, such as remarking “That’s not how our president appears” or “The FBI doesn’t operate like that.” Instead, we can explore big questions about life without worrying about accuracy. And The Assessment is an exceptional work that encourages these kinds of thoughts and questions, all within a close-knit setting reminiscent of a chamber piece. This aspect was what I admired about it rather than finding it unsettling.

When Mia Olsen was giving Virginia Vikander’s fictional child a bath, it seemed authentic and like a real mother-daughter moment, although I didn’t realize then that it was actually one of Virginia’s manipulative tests to evaluate if Mia and Aaryan Patel were fit parents. Even though you likely trusted your director and co-stars during filming, I wonder if doubts ever crossed your mind about how this scene would ultimately turn out?

It seems like you’re often concerned about whether a project will be successful. You have the initial idea or script, the actual production, and then the editing process. However, there’s an unpredictable factor – the reaction of the world when the project is launched, and the connection audiences form with it. This additional aspect, which is beyond our control, results in a unique interpretation of the work by the audience. Therefore, I try to concentrate on ensuring that my decisions are clear, even if I want some elements to remain unclear, and make sure they feel justified and comprehensible to the viewers.

During the script, both the bathtub scene and Mia’s subsequent betrayal towards Virginia were present. However, while filming, Alicia and I unexpectedly uncovered a strong bond between these characters that wasn’t initially written or explicitly spoken about. There was a pivotal moment of alliance, as you mentioned, where we became fully immersed in their world. It was like playing a game, and gradually, we began to trust the dynamics portrayed.

In a unique and profound way, these women share an intimacy that significantly influences their final decisions in the movie. It seems as though they unconsciously opt for similar choices, offering each other something unexpected – emotions they hadn’t realized they needed to express or experience. This exchange of feeling mutually understood, despite the intense conflict, was a powerful moment where they felt truly seen by one another.

In essence, Virginia tends to employ the technique of method acting, which leaves Mia and Aaryan slightly taken aback initially. Does this experience often occur when dealing with method actors? Are there typically instances when you become aware of their approach?

Virginia primarily uses the method acting style, causing Mia and Aaryan to pause for a moment before fully comprehending it. Is this a common occurrence in dealing with method actors? Are there usually times when you realize their techniques?

Both versions attempt to convey the original message while using more natural and easily-readable language.

(Laughs.) I rarely collaborate with actors who delve deeply into their roles, a practice known as “method acting.” What intrigues me is the transformation people undergo, and it’s something none of the cast members on “The Assessment” did in this way. There’s a gray area where it becomes fascinating to wonder if someone is truly themselves or just portraying their character. That ambiguity appeals to me and allows for greater creative liberty. In essence, it means I can be more spontaneous without worrying too much about being polite. However, I haven’t yet encountered a full-fledged method actor who required me to address them by their character’s name or similar practices.

When Alicia portrayed Virginia’s childish character, she shared with me instances of laughter and interruptions. How long did it take for you to become fully immersed in that magical world?

In a sense, it wasn’t out of the ordinary for me to suspect she was acting like a child, given my theater school background where we play roles ranging from children to octogenarians. It felt somewhat like returning to my theater school days or simply pretending as a kid. Therefore, the pretend scenario in this movie didn’t feel odd, and I found it delightful to revisit the way we used to play as kids. This fictitious play, in turn, pushed Mia and Aaryan – who are typically more focused on their work, particularly Aaryan – to engage with the world in that manner. Initially, it was quite awkward and uncomfortable, but they eventually began to adapt and blurred the lines between reality and play.

After working in large-scale franchise projects, do you find it refreshing to go back to smaller, independent and artistic filmmaking again, given that these sets are much more compact compared to entire nations?

Working with smaller crews and casts, as was the case with “The Assessment,” fosters a strong sense of community that’s crucial for creating intimate, smaller-scale films. This setup also means you spend more time on set, covering more pages each day, which leads to a more efficient shooting rhythm since there’s less wasted time. I detest idle moments on set, and when they do occur, even infrequently, I find them perplexing. It’s not common, but it does happen occasionally when there’s enough funding for a leisurely approach. I thrive in the hustle of getting through so much in a day.

Six years ago, it dawned on me that Marvel’s extensive impact on both time and creative space demands that I make choices beyond Marvel that align with my unique preferences. My taste plays a significant role in shaping the artist I am today, which was an aspect I hadn’t considered when I first started acting. Initially, I was merely grateful for any work coming my way. However, as I sought to expand my horizons and explore diverse roles, my personal tastes didn’t initially factor into the equation. The chance to revisit projects like this is a testament to the people I wish to collaborate with and a reflection of my individual preferences, even though I may not be the filmmaker myself.

Are you working on the project “Sam Esmail’s Panic” in London at the moment? Have you received any information about whether Joe and Anthony Russo plan to extend your tenure, given that they will soon be filming the next two Avengers movies in London?

affirmative! I’ve returned to the United States now. I’ve recently wrapped up a project called “Panic Carefully“. Next, I’ll be working on a pilot for FX titled “Seven Sisters“.

Indeed, I’m thrilled to hear about your reunion with director Sean Durkin on the Martha project! Can’t help but wonder if the passage of time, some 14 to 15 years, took either of you by surprise?

I don’t believe any project he has created since we worked together on Martha suits me. The Nest is one of my favorite films, but I can’t imagine myself fitting into something similar. Unexpectedly, our next collaboration turned out to be for television, which I’m really looking forward to. Will Arbery, who wrote the pilot, is an incredibly talented writer, and this will be my first time working on a pilot. I’m excited to see how it turns out and hopefully share it with everyone someday. For your information, WandaVision, like my other series, was a straight-to-series order before Marvel Studios changed their approach to TV production in 2023.

It’s truly remarkable to see the success achieved by the cast of Martha. Interestingly enough, it was not only your debut film but also the initial appearance on screen for Chris Abbott and Julia Garner. Brady Corbet also made a notable contribution with his supporting role. (Not to forget Sarah Paulson, Hugh Dancy, and John Hawkes who were also part of the cast.)

Absolutely, Julia stood out as being quite young; she was approximately 15 years old. Interestingly, that film marked Chris’ debut in cinema, but prior to our collaboration, I had long admired him for his work on the stage. Moreover, there was also Brady involved. All in all, it’s a truly remarkable movie, and I find myself thinking about the talented individuals who contributed to it quite frequently.

Surprisingly, I hadn’t foreseen this, but given the theme of your movie about numerous unsolved mysteries, it aligns well. Was it known to you that a follow-up for Wind River was actually filmed?

(Laughs.) Oh, I’m not familiar with that. I didn’t know about it. Is filmmaker Taylor Sheridan associated with it?

I’m not sure about that. The movie is reportedly directed by Kari Skogland (of “The Falcon and the Winter Soldier” fame), and it seems to share some of the same producers, such as Basil Iwanyk, Erica Lee, and Matthew George. If my assumptions are correct, it appears to focus on the character played by Gil Birmingham, specifically his son, who is portrayed by Martin Sensmeier.

I had absolutely no idea. Thank you for telling me because now I know. I had no clue.

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The Assessment is now playing in movie theaters.

2025-03-25 01:55

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