Review: ‘The Assessment’ (2025), starring Elizabeth Olsen, Himesh Patel, Alicia Vikander, Indira Varma, Nicholas Pinnock, Charlotte Ritchie, Leah Harvey and Minnie Driver

April 13, 2025

by Carla Hay

Himesh Patel and Elizabeth Olsen in “The Assessment” (Photo by Magnus Jønck/Magnolia Pictures)

“The Assessment” (2025)

Directed by Fleur Fortuné

Culture Representation: Taking place in an unnamed society in an unspecified period of time, the sci-fi drama film “The Assessment” features a predominantly white group of people (with a few South Asian and black people) representing the working-class, middle-class and wealthy.

Culture Clash: A married couple must past a rigorous seven-day assessment test, conducted by a government assessor, in order to determine if the couple will be approved to have a child.

Culture Audience: “The Assessment” will appeal primarily to people who are fans of the movie’s headliners and sci-fi dramas about futuristic worlds where the governments are oppressive and the protagonists have to make difficult decisions about compliance versus rebellion.

Alicia Vikander and Elizabeth Olsen in “The Assessment” (Photo by Magnus Jønck/Magnolia Pictures)

“The Assessment” is an emotionally somber but visually stylish drama that shows a post-apocalyptic society where people have to pass a government evaluation test for approval to become parents. The principal cast members give memorable performances. This movie seems intentionally set in an unspecified time and place because the underlying message is that what happens in the movie could happen in some variation at any time, in any place.

Fleur Fortuné, who has a background in directing music videos and short films, makes her feature-film directorial debut with “The Assessment.” The movie was written by Dave Thomas (under the alias Mr. Thomas), Nell Garfath Cox (under the alias Mrs. Thomas) and John Donnelly. “The Assessment’ (which was filmed in Spain) had its world premiere at the 2024 Toronto International Film Festival.

“The Assessment” begins by showing a scene of a girl name Mia (played by Suhayla Balli Al Soufi Del Diego), who’s about 12 or 13 years old, swimming in an ocean. Her mother is on the rocky shore and calls out to her: “Mia, come back!” It’s a flashback memory to a period of time when Mia last saw her mother. What happened to Mia’s mother is revealed in bits and pieces of conversations. Mia also had a sister, who is mentioned in the movie.

What is revealed is that this is a relatively new society that has left its “old world” behind because the “old world” became too polluted. Certain people who were considered “undesirable” or too rebellious were left behind in the “old world.” Those who made it to this new world are considered to be worthy of procreating so future generations can live in this new world.

But even among these “elite” survivors, there’s a hierarchy. Only a small percentage of people are chosen by the government to become parents. Those who are chosen have to go through a rigorous seven-day assessment test. During these seven days, the assessor lives with the prospective parents. The assessor’s decision is final on whether or not to approve the application.

When viewers first see adult Mia (played by Elizabeth Olsen) and her husband Aaryan (played by Himesh Patel), all of this background information is not revealed right away. What is shown early on in the movie is that Mia and Aaryan are happily married, but this upcoming visit from the assessor has caused tension in their marriage. In bed, Mia says to Aaryan: “What if we’re not good enough? I’m just nervous. It’s just all so secretive.”

Mia and Aaryan live in a modern-yet-retro-looking home on a rocky beach area. Mia is a sculptor who makes her art in a converted greenhouse. Aaryan works for the government as an artificial intelligence (A.I.) designer. The government has exterminated all real pets, so Aaryan is developing a secretive project that creates lifelike pets powered by artificial intelligence. The idea for these robot pets is so people can have a safe alternative to real pets. Aaryan has already built an A.I. cat as a beta test.

Artificial intelligence is an everyday and accepted part of life in this society. Mia and Himesh have an A.I. assistant that’s very similar to Amazon’s Alexa. The device’s owner can program the A.I. assistant to have different voices. Aaryan lets Mia know that he has changed their A.I. assistant’s voice to sound like his mother. Mia is okay with this change.

The couple’s assessor shows up fairly early on in the movie. Her name is Virginia (played by Alicia Vikander), who is a calm professional but very aloof and clinical. Virginia informs Mia and Aaryan that the couple made it into the top 1% of couples who are chosen for this assessment. Virginia tells Mia and Aaryan that they have the right to end the assessment at any time but warns that if they choose to end the assessment before it concludes, they won’t be given another chance to apply for another assessment.

Mia and Aaryan are also expected to give samples of their bodily fluids to Virginia, such as blood, mucus, semen and vaginal secretions. Virginia also says that Mia and Aaryan will be evaluated on their mental and emotional stability. And they are required to keep confidential everything that happens during this assessment visit. Needless to say, it’s a high-pressure situation for Mia and Aaryan to have one person (Virginia) decide whether or not Aaryan and Mia are fit to be parents.

At first, Mia and Aaryan are overly accommodating and polite because they want to do everything they can to impress Virginia. But over time, Mia becomes very uncomfortable with the process and openly questions Virginia’s tactics. Mia’s discomfort starts on the first day, when Virginia asks for explicit details on the couple’s sex life. Virginia writes everything down in a notebook.

Later that evening, when Mia and Aaryan are in their bedroom and getting sexually intimate, they are shocked to see that Virginia has opened the door to watch them in the hallway. Mia and Aaryan are embarrassed and stop what they’re doing. But Virginia orders them to keep doing what they’re doing and to pretend that she’s not there. Mia is much more reluctant than Aaryan to go along with this order.

Another major test comes when Virginia does some Method acting and pretends that she is a misbehaving and cranky toddler, 24 hours a day. The idea is to test the parental patience of Aaryan and Mia. You can easily predict which of the spouses will get frustrated and lose patience first.

What isn’t so easy to predict are some of the mind games that Virginia plays with this couple. These mind games have nothing to do with their skills as a parent but have to do with testing how strong the couple’s marriage is and their trust in each other. Viewers will start to wonder about Virginia’s manipulations: “Is this really part of the assessment, or is this something that Virginia that is doing that’s separate from the assessment?”

Although there’s friction between Mia and Virginia, there are a few moments where Mia opens up to Virginia. When Mia is asked why she wants to become a parent, Mia says: “I want to give a child what I never had: a sense of belonging.” Mia is the character who is the most likely to be an independent thinker, which is why Olsen gives the movie’s standout performance. Vikander’s performance becomes more layered as more things are revealed about Virginia.

Most of “The Assessment” features scenes only with Mia, Aaryan and Virginia. However, there’s a pivotal scene during Day 4 of the assessment’s when Virginia has invited six guests over to the couple’s house for a dinner party on short notice, without the consent of Mia and Aaryan. It’s another one of Virginia’s tests.

The six people invited to the party are Aayran’s accomplished mother Ambika (played by Indira Varma); a prominent scientist named Walter (played by Nicholas Pinnock); Walter’s snobbish wife Evie (played by Minnie Driver); and a friendly lesbian couple named Serena (played by Charlotte Ritchie) and Holly (played by Leah Harvey) with their daughter Amelia (played by Anaya Thorley), who’s about 5 or 6 years old. Serena and Holly, who are strangers to Mia and Aaryan, reassure Mia and Aaryan because they say that Amelia was the result of Serena and Holly getting an approved assessment. There’s tension between Mia and Evie because Mia used to be Walter’s lab assistant before Mia was married and might or might not have had an affair with Walter.

“The Assessment” is meant to make viewers ponder just how far they would be willing to go to take this type of test. The test isn’t just about getting “approval” to become parents. It’s also about how much control people will allow a government to have in their lives and how much people will choose to go along with outrageous orders without questions or criticism.

Some viewers might not like how the movie ends. However, the conclusion of the movie can be effectively intepreted as a sign of despair or sign of hope. Viewers are free to decide, based on their personal opinions and perspectives.

Magnolia Pictures released “The Assessment” in select U.S. cinemas on March 21, 2025. The movie was released on digital and VOD on April 8, 2025.

Review: ‘Tuesday’ (2024), starring Julia Louis-Dreyfus, Lola Petticrew, Leah Harvey and Arinzé Kene

June 29, 2024

by Carla Hay

Lola Petticrew and Julia Louis-Dreyfus in “Tuesday” (Photo by Kevin Baker/A24)

“Tuesday” (2024)

Directed by Daina O. Pusić

Culture Representation: Taking place in an unnamed city in England, the dramatic film “Tuesday” features a predominantly white cast of characters (with a few black people) representing the working-class and middle-class.

Culture Clash: A 15-year-old girl (who has an unnamed terminal illness) and her worried mother have interactions with death, which manifests itself as a talking macaw that can willingly change the size of its body. 

Culture Audience: “Tuesday” will appeal primarily to people who are fans of star Julia Louis-Dreyfus and offbeat movies about confronting mortality.

Lola Petticrew and Death (voiced by Arinzé Kene) in “Tuesday” (Photo by Kevin Baker/A24)

The morbid drama “Tuesday” is best appreciated by viewers who can tolerate surrealistic movies about death. It’s a unique story about a mother and daughter interacting with death, which is embodied as a talking macaw. The concept is creative but alienating. The people who will dislike this movie will really hate it, while others will either like or love this movie. It’s a flawed but interesting film. The cast members’ performances might keep viewer interest if people still want to watch the movie after seeing how death is portrayed in the story.

“Tuesday” is the feature-film directorial debut of writer/director Daina O. Pusić, also known as Daina Oniunas-Pusić. The movie had its world premiere at the 2023 Telluride Film Festival and then made the rounds at other film festivals, such as the 2023 BFI London Film Festival and the 2024 Miami Film Festival. Before writing and directing “Tuesday,” Pusić wrote and directed short films.

The opening sequence in “Tuesday” shows Death (an orange macaw) taking the lives of several people in various locations. (“Tuesday” takes place in an unnamed city in England, where the movie was filmed on location.) Death can change its size by choice. In the movie, Death’s sizes range from being as small as a thimble to as large as a tall building. The character of Death is a combination of computer-generated imagery and visual effects for a live actor performance. In the scenes where Death is human-sized or larger, Death is portrayed by actor Arinzé Kene.

Death has a deep, gravelly voice that can be off-putting to some viewers. When Death is ready to take someone’s life, Death gives that someone a very tight embrace. Some of the dying people welcome death, while others don’t want death anywhere near them. Some are shocked and frightened by seeing Death, while others are not surprised and are much more accepting.

These contrasting attitudes toward Death can be seen in the mother and daughter who are the people at the center of the story. Zora (played by Julia Louis-Dreyfus) is an American single mother, who lives with her 15-year-old daughter Tuesday (played by Lola Petticrew), who has an unnamed terminal illness. Tuesday’s father is not seen or mentioned in the movie. It’s also never explained why Zora is living in England, but it can be presumed she’s lived in England for several years because Tuesday has an English accent.

Tuesday uses an oxygen tank and a wheelchair. She also has a compassionate home care nurse named Billie (played by Leah Harvey), who visits the household on a regular basis. An early scene in the movie takes place in a taxidermy shop, where Zora is selling some unusual taxidermy figures: rats dressed as Catholic bishops. Zora says these items are her daughter’s but Zora is selling them without her daughter’s knowledge. It’s later revealed that Zora has been secretly selling things in the household because she lost her job and doesn’t want to tell Tuesday.

Tuesday is the first person in the household to see Death. Instead of being alarmed, Tuesday tells Death a story. Death laughs and shrinks to the size of a thimble. It’s the beginning of an unusual acquaintance that develops between Tuesday and Death. Tuesday is lonely (at one point, she mentions later that her friends abandoned her because of her illness), so she enjoys talking to Death.

When it comes to Tuesday’s terminal illness, Zora is much less accepting of it than Tuesday. Whereas Tuesday seems to be quietly peparing to die, Zora is angrily defiant and doesn’t want to consider that Tuesday is running out of time to be alive. The movie does not mention how long Tuesday has had this terminal illness or the medical diagnosis for Tuesday’s life expectancy. Zora believes that she and Tuesday can successfully fight this disease together.

Needless to say, Zora’s first encounters with Death are very hostile. It leads to some disturbing scenes where Zora tries to get rid of Death. (Sensitive viewers, be warned: These scenes show some animal cruelty.) And then, Zora does something truly bizarre that will either further alienate viewers of this movie or will make viewers curious to see what will result from Zora’s extreme actions.

“Tuesday” might have been better as a short film, since much of the movie gets repetitive, with pacing that drags. The movie’s marketing is somewhat misleading because Zora is not in the film as much as the movie’s trailer and poster suggests. There’s a huge chunk of the movie where Zora is not seen at all. Most of the conversations that Death has are with Tuesday.

Billie is an underdeveloped character. Don’t expect to learn much about her or anyone else in the movie who isn’t Zora, Tuesday or Death. Billie is the supporting character who gets the most screen time. All the other supporting characters pass through the story in cameo roles.

“Tuesday” has flashes of droll comedy, but the movie’s overall tone is gloomy and weird. Tuesday is an intelligent teenager who’s a little eccentric. Her personality is at the heart of the film. There are times that Tuesday wants to die, which is very unsettling to Zora, who says out loud that it’s unnatural for a parent to outlive a child.

“Tuesday” takes a bold risk of not following the usual movie stereotype of making Zora a saintly mother of an ailing child. Zora is often impatient and rude. As the story goes on, it becomes clearer that Zora’s bad attitude has a lot to do with being under financial pressure to take care of Tuesday while Zora is unemployed and dreading a future without Tuesday.

What saves “Tuesday” from being too abstract and too enamored with its fantastical elements is the fact that the film’s story is grounded in an authentic depiction of a mother-daughter relationship. The movie is a unique portrayal of stages of grief when it comes to death. “Tuesday” is memorable for its talking bird, but what will stay with viewers the most is what the movie has to say about humanity.

A24 released “Tuesday” in select U.S. cinemas on June 7, 2024, with an expansion to more U.S. cinemas on July 14, 2024.

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