L'évaluation

It often feels like we're constantly being assessed, evaluated on everything from our creditworthiness to our work performance to our scholastic achievements. But imagine what it might be like if we were scrutinized on highly personal matters, with intrusive investigations into our most highly intimate concerns. Such is life in director Fleur Fortune's debut feature in a dystopian version of Earth of the future. With the planet devastated by environmental decline, human society has been drastically reorganized into the old world and the new world. The former is a pathetic wasteland where individuals struggle to live out short lives under horrific conditions. The latter, meanwhile, is a sanctuary for the fortunate, with clean air, clean water and a comfortable way of life, but there's a trade-off: Residents must abide by litany of stringent laws, rules and regulations in which they're under constant assessment, including in matters of their so-called private lives, where the risk of being reassigned to the old world looms for even the smallest of violations. This intensive surveillance involves essentially everything, including such basic considerations as the ability to have children, a strictly regulated undertaking for which would-be parents are rigorously evaluated by government-appointed assessors on their qualifications to assume this role. So it is for Mia (Elizabeth Olsen) and Aaryan (Himesh Patel), a couple looking to become one of the privileged, who are placed under the microscope by their evaluator, Virginia (Alicia Vikander). The assessor takes up residence with the couple for a week to scrutinize their suitability, engaging in rounds of intensive questioning, role playing exercises and other unannounced tests to see if they meet the requisite standards. But are they up to it? The process pushes the limits of the couple's coping abilities, exposes long-hidden secrets and pushes the envelope of their tolerance levels for their circumstances, all in the name (supposedly) of determining whether they would make acceptable parents. And, as the evaluation unfolds, it raises questions about whether the assessment is truly everything it appears to be. This inventive social sci-fi offering raises an array of probing, thoughtful questions, both for the characters, as well as audience members, particularly where matters of personal privacy and societal judgmentalism are concerned. The narrative is purposely designed to keep viewers guessing, placing them squarely in the shoes of the protagonists and nudging them to ask themselves what would they do under conditions like these. It's an approach that generally keeps us hooked as the story plays out, despite some occasional lapses in pacing and a few sequences in which the action feels a little over the top (especially in the role playing segments). But the payoff is ultimately worth it, one that makes us question whether the constant evaluations to which we're subjected in today's society are everything they're allegedly cracked up to be. This German production with dialogue in English is an intriguing examination of what we allow ourselves to be put through to see if we measure up to expectations that ultimately aren't necessarily our own, particularly in matters that fundamentally aren't anyone else's business. Think about that the next time you feel you're being unduly judged, a consideration that's taken on new weight in today's day and age - and that this cautionary tale might be giving us a preview of what could possibly lie ahead.

Greetings again from the darkness. Authors and filmmakers have long used forecasting the future as the basis for stories. Some have been lighthearted and humorous ("The Jetsons", BACK TO THE FUTURE) and others are more bleak and dystopian (BLADE RUNNER, THE ROAD). The first feature film from director Fleur Fortune (well known for music videos) has some common DNA with the excellent CHILDREN OF MEN (2006) from director Alfonso Cuaron. Written by Neil Garfath Cox, Dave Thomas, and John Donnelly, this story shows us a future where having a kid is a privilege that must be bestowed by the government, rather than free choice.

Mia (Elizabeth Olsen, MARTHA MAY MARLENE, 2011) and Aaryan (Himesh Patel, YESTERDAY, 2019) have built a life and marriage in a desolate area. Mia has a greenhouse where she grows food, and Aaryan has a Virtual Reality room where he experiments with realistic innovations. Both are aiming to improve life of others. They believe that a missing link in their life is a child, and agree to go through the 'assessment' process. When Virginia (Oscar winner Alicia Vikander, THE DANISH GIRL, 2015) arrives, she explains that, as the assessor, her decision is the final word. Mia and Aaryan express that they will be "good parents". Virginia smiles and relays that everyone says that.

The assessment is a seven-day process and calling it bizarre definitely undersells it. At times, Virginia kicks into childlike mode, testing the parental instincts of Mia and Aaryan. It's during these segments where the story gets a bit ridiculous, despite Virginia's explanation that she needs full access to their emotions and reactions (and intimate methods). During a strange dinner party - set up by Virginia - we get discussions of the "old world" existence and the rumors associated with it.

Analysis of the psychology of folks during such times can be quite enlightening, but despite the intriguing concept, the execution leaves us a bit frustrated with the holes and goofy moments. The third act is especially confounding, although we completely understand Mia's quest for answers. Everything circles back to early on when Mia and Aaryan first ask Virginia, "Are we good enough?". We feel their desperation, but once we learn their catchphrase exchange, "I love you. That's right.", we know this isn't headed to unicorns and rainbows.

Opens on March 21, 2025.

Alicia Vikander was already part of a dystopian Sci-Fi drama once (Ex Machina). Now she gets a totally different part in a film that feels like another "Black Mirror" episode and a good one also, nevertheless. From a first gaze of the movie's poster, I wasn't so sure, but when it had ended...so good.

The future, if to be franc and honest, is already here. Dystopian content is almost not any news and more and more films about dark future are rolling in our doorstep. This one is another that speaks about class differences, with a different direction and point of view.

Both Mia and Arian are well educated couple, that contributes to the well-being of the society. Both want to have a child, but the reality which they are living in does not allow reproduction. The government forbids children without supervision which validates that both candidates are suitable to raise children.

The supervision if from an assessor, which lives full week with the couple and determines at its end whether they are capable or not. Meanwhile, the rest of civilization are living in a wasteland and are being treated differently. This part is just mentioned in words and being seen for a very short period of time from the movie, towards the end of it.

The execution of the film was brilliant, and the performances were just outstanding. The plot had several holes and subjects that weren't properly delt, but the final outcome was a movie about parenting experience, fears, anxieties and the complications with being parents in some different magnitude.

This movie was also about the race we are falling behind in - real world against Artificial intelligence. It got its fair share of different type of anxieties, towards a future that is really unclear, but well predicted by a lot of artists in the movies industry.

Elizabeth Olsen's performance was magnetizing. She ruled this movie with so much depth. Himesh Patel was great also, but both female characters were the main issue here. Finally, the biggest performance of all - Alicia Vikander. Wow. I can't stress enough how good she was and was worth watching just for her side of the plot and her performances' weight in the movie.

The movie ended kind of sloppy for me, at least, but it was worth each and every minute of my time and I cannot understand why it got such a low grade. Maybe for being a little bit misunderstood. Maybe the ones who didn't understand it need a re-watch.

I saw this movie in the Hamburg Film Festival and I enjoyed it a lot! I left the cinema thinking about the many issues raised in the film and, in my opinion, this is a good sign that the movie has a story to say. I initially chose to watch the movie because Elizabeth Olsen is the lead actress. And, as I expected, she did not disappoint me. Her performance is superb! I admire how expressive she is and how well she portrays her character and conveys her emotions. An applause also to Alicia Vikander who also gives a great performance! I highly recommend the film to watch with friends and then have heated discussions about it!

The 3 leads are pretty good in their roles but story just didn't gel together for me. Very little is known of the dystopia, the cause, the effect the hope. The entire focus is really on the assessment of the couple's readiness for raising a child. A few sprinkles of insight into their work life doesn't do much to round out their characters. Virginia the assessor of the couple is quite erratic and throws every cliche of bad childish behavior to test the couple. This was mildly interesting but it grew tiresome.

I didn't expect the story to continue where I had thought it should have ended. Just delivered more dialogue that no longer mattered to me as I had already mentally checked out. I think the premise and the awkward start of the movie could have been a rating of 7. By 1/2 way through the movie lost its mojo and slid down to a 5.

Watch it if you like the lead actors but the story might grind on you.