As a seasoned gamer who’s navigated countless virtual worlds, I can’t help but draw parallels between my digital escapades and the dystopian landscape of Fleur Fortuné’s The Assessment. The film is a gripping tale that keeps you on the edge of your seat, much like trying to outwit an elusive boss in a survival game.
In the years ahead, as portrayed in Fleur Fortuné’s gripping yet inconsistent first novel The Assessment, Earth experiences devastating environmental disasters. A boundary separates the old world from the new one, within which individuals such as Mia (Elizabeth Olsen) and Aaryan (Himesh Patel) reside under stringent regulations. Buildings are enclosed by atmospheric pressure barriers to safeguard them against increasingly volatile weather conditions. The authorities, a pervasive surveillance system, regulate daily activities: They distribute vitamins for population control, conscript people to create technology and conduct research ensuring the longevity of society and the exiled dissidents beyond the border. Additionally, they manage the populace by subjecting those who wish to have children to a demanding seven-day evaluation supervised by a chance government representative.
Information regarding the test is sparse, and it appears transparency isn’t their usual approach. Both Mia and Aaryn are widely believed to be excellent potential parents. Upon hearing this, their assessor, Virginia (remarkably like Alicia Vikander), lets out a chuckle of amusement. This high-achieving, meticulously prepared couple is thrown off by her reaction, as they express a strong desire to cultivate the next generation of their society. Mia focuses on researching sustainable food sources while Aaryn works on perfecting artificial intelligence to create highly realistic pets. The main issue with his current project lies in achieving the right texture for the fur. Their home is tastefully decorated, reflecting the style of a creative couple residing in Marfa (art direction by Jan Houllevigue), and they wear clothing sought after by affluent technologists in Silicon Valley (wardrobe by Sarah Blenkinsop).
The Film “The Assessment,” debuted at the Toronto Film Festival, is particularly compelling when it delves into the demonstration of this seemingly ideal couple’s worthiness towards the state. Virginia’s arrival alters the household atmosphere, imbuing it with a more anxious and ominous tone. The meticulous assessor initiates the evaluation with standard biographical inquiries, but subtly transitions, with disarming fluidity, into playing the part of a child. This unexpected act initially bewilders Mia and Aaryan, but they eventually adapt to their new roles as well.
At these instances, The Assessment transforms into an engaging psychological chamber play that explores the relinquishing of ego in parenthood. It also subtly demonstrates how parenting techniques are influenced by personal history and fears. When Virginia skips breakfast for a tantrum, the responses of Mia and Aaryan – discipline or surrender – offer insights about their characters that no test could reveal.
At home, Olsen, Patel, and Vikander shine brilliantly. They skillfully play dual roles: Olsen and Patel are not just a researching couple, but also new parents to Vikander, who stands as both their child and the decider of their destiny. Vikander delivers an exceptional performance in a part that demands her to manipulate various types of power. Scenes in the film ‘The Assessment‘, penned by screenwriting duo Mr. & Mrs. Thomas and playwright John Donnelly, are particularly gripping when Virginia feigns being a toddler, challenging her parents’ resolve while testing their affectionate desires. A memorable scene involves an unexpected dinner party, where Mia and Aaryan must simultaneously prepare for their parents, friends, and acquaintances while managing Virginia’s increasingly immature behavior. Fortuné expertly handles this tense situation, effectively portraying the anxiety that arises when parents must juggle the challenge of raising a child with the social expectation to remain composed.
For a span of seven days, Virginia devises innovative methods to challenge Mia and Aryan’s resolve. This trial transforms into an engrossing endeavor, one that compels the couples to delve into their own selves and ponder their motivations for desiring a child. In this process, Virginia effectively serves as a reflection for Mia and Aryan, encompassing both their past and present. Through their interchanges and role-playing, they confront harrowing memories and ingrained fears. The outcome is simultaneously chilling and captivating.
In its peak moments, “The Assessment” skillfully explores and sustains concerns about modern-day parenting, amplified by issues such as overconsumption and climate change. However, it strays from its path when it expands its narrative scope and attempts to introduce last-minute world-building concepts. Leaving Mia and Aaryan’s home raises questions about their society that the film fails to address adequately, causing our focus to shift towards comprehending this new world and its connections to the old one. This expansion leads to performances that were once tight becoming unraveled, and the narrative loses direction, leading to a conclusion that seems artificially profound. Towards the end, “The Assessment” starts to feel like a less engaging tale compared to the captivating story we’ve just experienced for an hour and a half.
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2024-09-09 03:55