THE ASSESSMENT. Sci-fi for those who want to feel something

How many films have shown a grim vision of the future? How many of them were low-budget character studies, with some version of a post-apocalypse serving merely as a backdrop? How many have faded into obscurity, buried under newer, flashier, more compelling productions? The answer is obvious – your favorite version of the word “many.” So the question is: does The Assessment, the debut feature from a French music video director, have enough freshness to be remembered? You might think so, just by looking at the names attached. Elizabeth Olsen and Alicia Vikander make a strong duo, easily drawing viewers in. Add Himesh Patel and a small supporting cast thrown into a not-so-original, but smoothly executed, concept of ordinary people living in the aftermath of global catastrophe.

Mia and Aaryan live on a remote island in a stunningly designed house. She’s a botanist; he works in virtual reality, designing artificial animals meant to provide companionship in a world where real pets no longer exist. Nor can anyone have children without government approval. Mia and Aaryan want to become parents – they believe they’re more qualified than most – but that means undergoing the titular assessment. For one week, a government official will move in and evaluate them in every—every!—conceivable way, then deliver her final verdict.

Sound like torture? Of course it does. Fleur Fortuné has a film résumé that includes music videos (for artists like M83 and Skrillex) and short films. The screenwriters also have some experience under their belts, but for all of them, this is their first large-scale project. Throughout the film, you can sense the hallmarks of young filmmakers: boldness, curiosity, a sharp visual sensibility, and a slight over-eagerness to spell things out (there’s one scene that might be a little too on-the-nose).

But regardless of experience, what matters most in any film is whether it makes the viewer feel. And The Assessment certainly delivers on that front. The seven days on the island play out like a three-person chamber drama, with Alicia Vikander in the standout role of Virginia, the government agent who tests the would-be parents by pushing the limits of decency. It starts off innocently (despite an underlying tension that’s clear from the start), but narrative logic dictates that things can only get worse.

And the film delivers on that promise without relying on spectacle. The Assessment is modest in scale, which only amplifies the emotional resonance—both for the characters and the audience. As a parent, I tend to react strongly to stories involving children in any form, so bear in mind that The Assessment may not hit everyone the same way. While watching, I squirmed, I empathized, I felt anger, I asked myself what I’d do in that situation. And that’s already saying a lot. Add to that some beautiful cinematography, phenomenal production design, carefully chosen shooting locations (the world feels anonymous, futuristic, intriguing—it’s only in the credits we learn it was filmed in Tenerife and Germany), and a sparse, organic score that complements the visuals perfectly. The Assessment works. A small (very small!) science fiction film for viewers who are looking to feel something.