Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

Pointing the Way to Inspirational Wisdom

 

Most of us would probably agree that learning lessons is an important part of our life experience. However, at the same time, most of us would also likely concur that we seldom know what those lessons will be, what their messages are or how they will arise in our lives. What’s more, and perhaps even more perplexing, we often don’t know who the teachers of those lessons will be. Could they be the circumstances that appear? The people who cross our paths? Or maybe something else entirely unexpected? What matters most, though, is will these mentors succeed in doing their jobs in conveying the insights we’re supposed to receive? Such is the case in the delightful new memoir-based comedy-drama, “The Penguin Lessons” (web site, trailer).

In 1976 Argentina, curmudgeonly middle-aged English teacher Tom Michell (Steve Coogan) somewhat begrudgingly takes an instructor’s job at St. George’s College, a prestigious boarding school in Buenos Aires. He’s welcomed by the button-down, by-the-book headmaster, Timothy “Timbuck” Buckle (Jonathan Pryce), and takes up residence at the school’s modest on-site accommodations, where his everyday needs are met by his assigned cook and housekeeper, Maria (Vivian El Jaber). However, shortly after Tom’s arrival, the country’s military-led coup takes place, the beginning of a years-long period of brutal political and social oppression frequently referred to as “the Dirty War.” When the takeover occurs, for safety reasons, the school is largely evacuated of its students and staff until circumstances settle down. That includes Mr. Michell, who decides to go on “sabbatical” in neighboring Uruguay at an oceanside resort town, a move that amounts to more of a vacation than anything else.

While out on the town one evening, he meets an alluring woman, Carina (Mia Breque), at a nightclub. They share a dance and then depart for a late night/daybreak walk along the beach, a development that Tom hopes will serve as a prelude to a night of passion. However, during their stroll, events take an unexpected turn: they encounter a young, distressed penguin (dually portrayed by Baba and Richard) covered in oil, the victim of a believed spill. In an effort to impress his prospective date, in an act of presumed chivalry, Tom dons the mantle of good Samaritan, agreeing to take the bird back to his hotel to clean it up. Tom and Carina thus proceed to bathe the helpless creature, who perks up considerably once washed. But, while the bird is soon better off, the same can’t be said for Tom, who’s abandoned by his companion when she admits she’s married and can’t stay. Needless to say, the irascible instructor is left high, dry and frustrated, confirmed in his belief once again that no good deed goes unpunished.

Events take an even more unexpected turn come morning: When Tom attempts to return the penguin to the wild, the bird won’t leave him alone. Every time he tries to free his feathered cohort at the beach, the penguin turns and follows him wherever he goes, even into a seaside café, where curious onlookers are captivated by the bird’s apparent unwavering attachment to the man who has been attempting to be its well-intentioned liberator. Indeed, true to form in what’s often thought to be typical penguin behavior, the bird has made Tom his new friend, like it or not, grateful for the gracious kindness he extended to it. But what is Tom to do with an uninvited pet penguin who won’t leave him alone? So, quite reluctantly, when it comes time to return to Argentina, Tom is now saddled with an unanticipated traveling companion.

Thus begins Tom’s relationship with his unexpected acquaintance, a connection for which he must devise an explanation for these unusual circumstances. His first test comes when passing through Argentine Customs, now under the control of the military. Rather than trying to concoct some kind of fabricated tall tale, Tom decides to tell the truth – that he came into possession of the bird in an effort to impress a woman – to the hard-nosed, eminently skeptical Customs Officer (Osvaldo Ayre) processing his return. Tom quietly hopes that the penguin will be confiscated from him. But, given that the agent has never encountered a situation like this – and doesn’t know what to do about it – he passes Tom through for reentry – and, much to the returning traveler’s dismay, lets him keep the bird, too.

Once back in Buenos Aires, Tom seeks to sheepishly sneak into St. George’s, hoping that no one will spot him with the penguin, given its strict “no pets” policy for residents. He also begins the process of trying to get the bird placed in a local zoo and attempting to hide it while awaiting the animal’s transfer, but that effort goes awry more often than not. To complicate matters, others soon discover the penguin’s presence, foiling Tom’s efforts to keep it under wraps. He’s thus concerned about how long his tenure will last, considering that he’s already changed jobs multiple times in recent years and has tired of continually having to relocate.

However, something curious begins to occur the longer the bird is present: Tom starts taking a liking to his impromptu roommate, an affinity on par with how the penguin “feels” about its unwitting rescuer. In addition, others at the school begin befriending the penguin, too, including Maria and her adult daughter, Sofia (Alfonsina Carrocio), a kitchen employee at St. George’s. The same is true of one of Tom’s teaching colleagues, Tapio (Björn Gustafsson), a science teacher from Finland who perpetually laments the loss of his significant other, who unceremoniously left him for another man. Even Timbuck becomes enamored with the new resident when its presence is revealed, the prohibition against pets notwithstanding. And, given the bird’s popularity, he’s invited to sit in on Tom’s classes and even given a name, Juan Sebastian, a tribute to the title character of the immensely popular book at the time, Jonathan Livingston Seagull.

But Juan Sebastian’s presence becomes something more than just a curiosity or mascot. He becomes a genuine friend to all of the humans around him. By inadvertently assuming the role of confidante, the bird helps many of the St. George’s residents with issues that they have been unsuccessfully wrestling with. They speak to him, almost as a therapist, hearing themselves being honest about their feelings, perhaps for the first time ever. It’s obviously impossible for any of them to determine whether Juan Sebastian actually understands them, but it also ultimately doesn’t matter to them, either. They begin to discover things about themselves that they didn’t know previously: The lovelorn Tapio begins sorting out his sorrow over being lonely; Timbuck comes to terms with his preoccupation of believing he always needs to appear correct and on top of matters, especially when it comes to the impression he leaves on others, like influential benefactors to the school; Maria seeks to understand her worries about Sofia’s potentially dangerous political activities and the risk associated with her daughter and the rest of her family being labeled dissidents; and, most of all, Tom finally finds a way to come to grips with himself, the ghosts of his past and the things that have caused him to long become so relentlessly cynical. That’s quite an accomplishment for a little bird.

And so, as unlikely as it might have seemed when all this began, the improbable messenger who ostensibly appeared out of nowhere comes to leave an indelible mark on all those he touches, helping to impart newfound wisdom to them in ways and to a degree that none of them could have possibly anticipated. Indeed, who would have thought that a penguin in distress could come to assume such a sagely role. But, in light of the payoff afforded by Juan Sebastian’s presence, his impact could be seen as immeasurable. That would seem to lend credence to the old adage that, when the student is ready, the teacher will appear. And, in the case of these characters, it’s unlikely they dispute the validity of that contention.

So exactly how does Juan Sebastian invoke such a profound and meaningful outcome? To a great degree, it’s because he serves as a catalyst to prompt Tom and his colleagues to examine their beliefs, including those that are already in place, those that may have been present but hidden from view and those that offer options that hadn’t been previously considered. That’s important, given the role that these influences play in shaping the nature of our existence. It’s hard to say if any of the characters in this story are aware of this school of thought, but, in light of the analyses and assessments they undergo and what comes from them, it becomes apparent how significant they are manifesting the outcomes that emerge. And, to bring these results about, all it took was someone (or something) to help show them the way to their own paths of self-discovery.

While the relevance of this notion comes quite naturally to some of us, for many, it’s an acquired skill that grows with practice and ever-increasing awareness. But, given that it’s still relatively unfamiliar to many of us, sometimes it takes a little nudge to help bring about greater recognition, something that we can truly believe in when it comes to understanding ourselves and our lives. And that’s where the role of the teacher can play a vital role.

However, as seen in this story, sometimes the mere presence of the teacher is enough to get the ball rolling. In instances like this, the teacher is able to successfully convey the message of the lesson without saying a word, relying instead on actions or, like a good therapist, by just listening to what the student has to say. By encouraging the pupil to open up and speak from his or her own heart, conditions are thus created to get the individual to express his or her true feelings, unfettered, a practice that leads to insights and many “a ha!” moments. Such developments frequently reveal the underlying beliefs that are shaping the student’s experiences, for better or worse, and make it possible to consider new, alternative, never-before-imagined ideas that can point the way in new directions. Message delivered and lesson learned.

Using our beliefs to shape our existence has infinite possibilities, but there are three areas in which it can be particularly useful, and they’re aptly depicted in this film, namely, overcoming limitations, altering aspects of life that no longer suit us and healing old wounds. This is true for Tom, as well as many of the supporting players in this story, and, in each case, the results are life-changing. The lessons they each learn from these experiences enable them to move beyond what has been holding them back, keeping them locked in place and feeling that they’re unable to rid themselves of old hurts. Indeed, we can learn much in situations like this, even if it just involves sitting back and pouring out our hearts to a cute little bird.

Given the circumstances involved in this picture, at first glance, one might think it’s a cutesy, schmaltzy, manipulative tale a la Disney, but far from it. This charming comedy-drama from director Peter Cattaneo tells how a simple act of kindness and compassion can ultimately yield as much for the rescuer as it does for the rescued, a story that leads to the unwitting imparting of valuable life lessons to someone who’s ready to receive them, even if unaware of that fact. The picture tellingly explores questions of personal growth and overcoming lingering anguish, all brought about by the influence of an improbable feathered mentor. It also examines the emergence of selfless courage and how it can arise under duress, even in a tense social and political environment like the one present here that has both the protagonist and virtually the entire Argentine population on edge.

In addition, this delightful offering is a tale the defies a long-held cautionary adage about casting decisions in entertainment projects. There’s an old show business expression that advises actors never to work with children or animals, because they’ll upstage them every time. But, while that’s often true, it’s certainly not the case here, as penguins Baba and Richard in their dual portrayals of Juan Sebastian prove to be equal partners in the picture’s ensemble, making a mark without stealing the show. The birds somehow seem to “know” when they should play the perfect foil for their human counterparts, who, in turn, generally seem to know when to defer to their feathered co-stars, as well as when to step up into the limelight. That’s especially true of Coogan, who’s signature deadpan acting style makes him the perfect choice for the role of Tom, a character who often finds himself taking a back seat to Juan Sebastian but who also knows when to assert himself when needed, a performance not unlike the one he gave as put-upon investigative reporter Martin Sixsmith in the fact-based comedy-drama “Philomena” (2013).

While the film is indeed fact-based, the creators have made use of their literary license in the development of this version of the story. This is perhaps most notably seen in the character version of Tom, who is depicted here as a disgruntled middle-aged man who is transformed by his experience, coming to gain a new appreciation and understanding about life. In actuality, however, when his real life counterpart underwent the experiences depicted here, he was only in his 20s, still young and in the process of learning about life. Whatever the reason was behind this change, the underlying purpose of the story was the same in both cases – to show us how to avail ourselves of the learning opportunities that arise in our lives, particularly at the times when we need them most, regardless of how they’re presented to us and whomever the instructor might be, even if it’s a small flightless bird.

Admittedly, the film has a little trouble finding its footing in the opening act, but, once it does, it’s a touching release that’s genuinely moving without being drenched in saccharin. “The Penguin Lessons” is also one of those movies that needs to be seen to be believed, as the trailer truly doesn’t do it justice. Indeed, this is one of those heartfelt, uplifting stories that the world needs more of at a time when we could all use a little inspiration to help see us through the tough times we live in. The film is available for streaming online.

Given the significance of the learning process and what it has to offer us in life, we’d be wise to take advantage of it when it comes up. We generally come away from these experiences a little bit older but a lot wiser, the recipient of knowledge and insights about ourselves and the world around us that we’ll carry with us for the rest of our lives. All we need do is leave ourselves open to the possibility. And, when the teacher of these lessons arrives in an unlikely form, such as that of an adorable and endearing sea bird, how can we resist (and why should we)? In the wake of an experience like this, the penguin still may not be able to take flight – but we certainly can.

A complete review is available by clicking here. 

Alternative Summer Viewing Options 

With the summer movie season upon us, there are moviegoers among us who may not be interested in viewing the endless stream of action-adventure films, superhero movies, inane comedies and animated features being thrust upon us at the neighborhood multiplex. But all is not lost. There is indeed hope for alternative screenings, provided one knows where to look.

This summer’s selection of screenings appears to be offering audiences a variety of diverse choices that viewers might not be aware of. In particular, arthouse theaters, film schools and local cinema societies across the country have scheduled a number of thematic film series, special tributes and honorary screenings featuring movies and anthologies of works by storied directors celebrating milestone birthdays or anniversaries of their most notable pictures. There are far too many to list them all here, but some of the more noteworthy offerings are 50th anniversary screenings of such film classics as “Jaws,” “The Rocky Horror Picture Show” and “Mahogany.” In addition, a number of venues have slated film series and restoration release screenings featuring the pictures of filmmaking icons Charles Burnett, Stanley Kubrick and Robert Altman, as well as recently deceased director David Lynch. And, of course, there are a number of film festivals scheduled for the coming months, always a source of choice cinematic options, especially for lesser-known options.

Admittedly, finding these alternatives may take a little work, but, as noted above, check the listings for your local arthouse theaters, film schools and cinema societies. You might well be surprised at what’s available for viewing in your area. And they don’t require you to sit through two hours of explosions or car chases. 

Three Documentaries About Remarkable Women

     

At a time when women have come under increasing infringement on their rights and their ability to be themselves, it’s encouraging to see filmmakers rising to the occasion to counter those misguided initiatives, to make it clear that they have much to offer and should not be prevented from doing so. Those contributions take various forms, and they’re now being showcased in three excellent new documentaries, all available for streaming online.

Living up to one’s potential is indeed inspiring, especially for those who successfully overcome tremendous challenges in doing so. Such was the case with Katharine “Kay” Graham (1917-2001), publisher of The Washington Post newspaper and CEO of the multimedia Washington Post Co. organization, the subject of the insightful new documentary from directors George and Teddy Kunhardt, “Becoming Katharine Graham” (web site, trailer). Having been unexpectedly thrust into this demanding management role after the tragic suicide of her husband Philip in 1963, Graham nevertheless assumed the reins of this position with the intent of keeping the Post as the respected family business that it had been since her father acquired it in 1933. Yet, even though Graham had some experience working for the paper and had always taken an interest in its quality and well-being, she nevertheless knew little about running a business. This was a task made all the more daunting simply by virtue of being a woman in what was at that time clearly seen as a man’s domain, one in which “the little woman” was often ridiculed for her ambition to fulfill her goal.

Over the years, however, Graham learned much, becoming a role model for women in the business world, despite not seeing herself as a diehard feminist. What’s more, during this time, she confidently presided over the ample challenges posed by publishing the Pentagon Papers and breaking the story about the Watergate scandal, incidents that changed the nation’s political landscape and put fundamental First Amendment rights to the test. Viewers thus witness Graham’s evolution in becoming a respected and successful business leader, despite everything that could have worked against her.

In telling this story, the filmmakers draw upon a wealth of historically significant archive footage, including damning excerpts from the secret White House recordings from the Nixon presidency, as well as recent interviews with friends, family members and colleagues who knew and worked with her, such as journalists Bob Woodward and Carl Bernstein, women’s rights activist Gloria Steinem, and close friend and mentor Warren Buffett. There are also segments from the 2017 Steven Spielberg film “The Post” featuring Meryl Streep as Graham during her contentious battle with the White House and its efforts to squelch the publication of the Pentagon Papers. And, of course, there are numerous clips with Graham herself, candidly and succinctly revealing her perspectives on what she experienced and what we must collectively do when faced with the kinds of daunting freedom of the press challenges that she and the Post had to contend with.

At a time when the roles and rights of women are being threatened and the credibility and reliability of the press has come under increasing (and, some would say, justifiable) scrutiny, “Becoming Katharine Graham” serves as a powerful reminder of the hard-won nature of these fundamental protections and the need to fight for their preservation. We as a society should be grateful for individuals like Kay Graham for doing so much in bringing them into being. This film is an excellent chronicle of those efforts and a potent cautionary tale about what we might stand to lose if we let our diligence lapse.

In a stressful, complicated age such as this, there’s much to be said for wanting to pursue a quiet, contemplative life, the attraction to which can be quite strong once one gets a taste of it. So it is for the Cistercian sisters of the Santa Rita Abbey, who reside in a modest monastic compound in the idyllic, stunningly beautiful high desert of southern Arizona. These remarkable women, who quietly work to further the cause of divinity for themselves and others in modern-day life, are the subject of filmmaker Victoria Westover’s intimate and revelatory new documentary, “Final Vows” (web site, trailer).

The devoted women profiled here have freely chosen to commit themselves to this humble, stable and dutiful but eminently satisfying way of life by following the Rule of St. Benedict in service to God, both in better coming to know themselves and in being of service to mankind, sometimes in unexpected ways. Filmed over the course of four years, the director has captured an inside look at this little-seen order of devotees to the Divine through interviews with the sisters and footage of their everyday lives. The film thus presents a wide-ranging view of monastic life that is likely to be far different from what one might expect. This overview includes both the spiritually introspective elements of their existence, as well as the practical aspects of daily living, such as their work in manufacturing communion wafers, the abbey’s primary source of income, and in combatting the incursion of nearby mining interests that threaten to damage the surrounding environment and their way of life. In turn, the film also shows how the sisters’ choice of this calling serves as a means to explore and discover their individual purpose in life through understanding their relationship with God. To this end, they have each taken different paths to get where they are, but the bottom line in each case is the same: finding one’s place in life and leading the existence one is meant to follow in expressing one’s true, authentic self, thereby setting an example for others to follow.

In addition, even though the sisters are part of a religious order, their emphasis here appears to be more oriented toward a spiritual approach, one less aimed at the group experience of religion and more directed toward the individual expression of spirituality. Consequently, this is an eye-opening cinematic experience that those who have become disenchanted by dogmatic religious experiences may find refreshing and enlightening, providing a rejuvenated outlook for one’s personal spiritual life. No concerted effort is made here to try and convert anyone to anything; in fact, several of the sisters make a point of noting that the demands associated with a commitment such as this can be substantial, observing that it’s not for everyone, especially in light of the nature of the vows one must take in following through on this process. Interestingly, though, this is not to suggest that this is a dour, ever-serious, thoroughly stringent lifestyle. In fact, it’s portrayed as one filled with love, life and laughter, as seen, for example, in the wry, plainspoken, sometimes-whimsical observations of upbeat, ever-cheerful but self-effacing Prioress Sister Victoria (a.k.a., “Sister Vicki”) and her reflections on the inherent joy that comes with finding oneself and living a productive and thoughtful life through an experience such as this.

As a result of all this, then, “Final Vows” is a truly revelatory examination of these women and a way of life that carries the tremendous potential for profound satisfaction, fulfillment and peace of mind at a time when those commodities might be hard to find otherwise. It’s a cinematic experience that delivers more than what one might expect at first glance, showing us that there are aspects of life we may well be overlooking and should consider pursuing, even if we don’t follow the same steps as the sisters in achieving that goal. Rather, this is a work that could well prompt us to emulate the inspiration and enlightenment these women have attained – and that we can attain for ourselves, too.

In an entirely different vein, it’s fascinating to witness how a truly gifted individual effectively draws from various resources and uses her considerable talents to yield astounding works of distinctively singular creativity. That’s especially true in the case of iconic actress/singer/dancer Liza Minnelli, the famous daughter of actress/singer/dancer Judy Garland and filmmaker Vincente Minnelli, the subject of the intimate new film biography, “Liza: A Truly Terrific Absolutely True Story” (web site, trailer).

Writer-director Bruce David Klein’s superb new documentary about the legendary entertainer is a revealing look at the professional and personal life of its subject, told in nine chapters, most of which focus on the influences who helped shape the life and career of the storied stage, screen and concert performer. Under the tutelage of her famous parents, as well as mentoring collaborations with multi-talented entertainer Kay Thompson, singer Charles Aznavour, director Bob Fosse, composers Fred Ebb and John Kander, and fashion designer Halston, Liza emerged as one of the most distinguished and readily identifiable figures in show business, rocketing her to stardom on multiple fronts. Her unique look, polished persona and stellar performances placed Minnelli in constant demand for years, thanks largely to her determination and perseverance to follow through on every venture she tackled, a quality that helped earn her an Oscar, an Emmy, three Tonys and a lifetime achievement Grammy Award.

At the same time, Liza’s personal life was as flamboyant, ambitious and colorful as her professional pursuits, one filled with more than its share of highs, lows, challenges and stresses (many of which were instigated or exacerbated by relentless press coverage), all of which are candidly examined and nearly all of which she managed to conquer. These explorations into her private and professional life are backed up with a wealth of archive footage, film clips from Minnelli’s Academy Award-winning performance in “Cabaret” (1972), and recent interviews with friends, collaborators and entertainment industry observers, including Michael Feinstein, Ben Vereen, Mia Farrow, Joel Grey, George Hamilton, Chita Rivera and actress/half-sister Lorna Luft, among others. This combination of elements makes for an insightful profile of the entertainer, even if it sags a bit in the middle and has an occasional tendency to gush in the presentation of its content. Nevertheless, “Liza” is a truly terrific true story that shows how success arises when it’s carefully conceived, deliberately constructed and meticulously packaged, yielding a result we can all genuinely admire.

In many ways, the women featured in these three films couldn’t be more different from one another. At the same time, though, they’re also remarkably similar in terms of their talents, integrity and commitment to their endeavors. They all serve as poignant reminders of what we’re all capable of in our own right. But they’re particularly noteworthy as role models for women, especially for those who may be feeling intimidated by the pressure to get them to adopt roles that others would unfairly try to impose upon them. Look to these films for inspiration and the drive to succeed in the face of naysayers and critics who might try to dissuade and discourage you otherwise.

Scrutinizing Scrutiny

 

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. Is it worth putting ourselves through such intrusive and potentially intensive inquiries? Is the payoff for allowing ourselves to be subjected to such treatment necessary? Those are the questions raised in the new social sci-fi thriller, “The Assessment” (web site, trailer).

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. Is it worth putting ourselves through such intrusive and potentially intensive inquiries? Is the payoff for allowing ourselves to be subjected to such treatment necessary? Those are the questions raised in the new social sci-fi thriller, “The Assessment.”

In a dystopian version of Earth of the future, the planet has been devastated by environmental decline. As a consequence, 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 for the privilege of living in the New World: Residents must abide by a litany of stringent laws, rules and regulations for 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 scrutiny involves essentially everything, including such basic considerations as the ability to have children. Because resources are scarce in the New World, the population must be carefully controlled to avoid their depletion, and authorities have deemed it necessary that only those who are considered truly worthy of the privilege of becoming parents be allowed to do so. It’s a strictly regulated undertaking for which parental candidates are placed under rigorous testing and scrutiny by government-appointed assessors to evaluate their qualifications for assuming this role.

So it is for Mia (Elizabeth Olsen) and Aaryan (Himesh Patel), a couple looking to become among the few who are granted the right to have a family. They’re among the fortunate few to make it to the final round of evaluation, an intensive examination in which they’re placed under the microscope by their assessor, Virginia (Alicia Vikander). The evaluator 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 Mia and Aaryan up to the challenge? The process tests the limits of the couple’s coping abilities and pushes the envelope of their tolerance levels for the circumstances imposed on them, all in the name (supposedly) of determining whether they would make acceptable parents. This becomes particularly apparent when Virginia begins acting out as a rambunctious child, testing the couple’s ability to deal with a perpetually unruly brat. Mia and Aaryan are thus forced into confronting whether their desire to become parents is strong enough to contend with a possibility as troubling and confounding as this. Through this patience-trying role-playing exercise (not just for the characters, but at times for viewers as well), they constantly worry that, if they show any signs of intolerance toward the behavior of their “child,” it will take them out of the running to be selected to become parents. Talk about pressure.

But, as the week wears on, the assessment grows even more intense and dubious. In addition to evaluating the couple’s potential parenting skills, Mia and Aaryan are put through what essentially amount to tests of character, examining their capacities for traits like integrity, fidelity and truthfulness. For instance, secrets that they have never revealed to one another are unceremoniously exposed, disclosures that threaten the viability of their relationship, regardless of whether they’re chosen to become parents. When faced with circumstances like that, not only do the merits of passing the parenthood test arise, but questions about the couple’s very future together begin to surface as well.

And, if all of this weren’t enough, as the evaluation unfolds, questions also emerge about Virginia. Who is she? Are her evaluation methods genuine, testing measures truly sanctioned by ruling authorities? Or is she carrying out some kind of cruel, sadistic joke? Virginia’s actions raise valid skepticism from Mia and Aaryan about whether she’s investigating issues that officials are really interested in knowing about when it comes to the two of them being approved for the question at hand. Indeed, are the assessment process and the assessor herself everything they appear to be? That’s what remains to be seen.

Like it or not, assessments of all kinds seem to be part of our everyday lives. They can make or break us, depending on the nature and outcome of the evaluation. But does this leave us completely at their mercy? Are we powerless to have any impact on how they play out and ultimately affect us? That need not be the case. But, if we’re to come through assessments in ways to our liking, it helps considerably to understand what underlies them, and that’s the fact that they’re inherently based on beliefs. And that’s important given the role they play in the manifestation of our existence. It’s unclear how many of us are aware of or understand this school of thought, but it’s crucial that we make the effort to do so in light of the impact that they can have on the reality we experience, especially when assessments – and what they can yield – are at stake.

Fundamentally speaking, beliefs – and, consequently, assessments – are subjective in nature, even when supposedly objective considerations like scores, figures and other numerical elements are involved. Along with observational attributes, these factors combine to create impressions that go into formulating the underlying beliefs and resulting assessments. And those assessments, in turn, frequently provide the basis for making decisions in a wide array of applications, from job hiring to stage and screen casting to selecting mates and so on.

Some might still like to think that such outcomes are out of our hands. But that’s not necessarily true. How we conduct ourselves during an assessment – based on what we believe to be the considerations we need to address and convey at the time of evaluation – can have tremendous influence on the beliefs of the assessor. Ironically, this depends on us determining what we need to do at the time of assessment, which, in turn, rests with our evaluation of the screening process and the assessor, drawing upon our own beliefs about the evaluator to get on his or her good side in order to obtain a favorable rating. Just as the assessor will be formulating an opinion about how we act, how we appear and what we say, we must do the same when it comes to judging the evaluator and forming the beliefs we hold in return.

However, there are times when greater degrees of discernment, insight and awareness are called for when it comes to sizing up the assessments to which we’re subjected. And that’s apparent in this story. While it’s true that Mia and Aaryan genuinely want to become parents, there comes a point where they have to ask themselves, “Is what we’re being put through truly worth it?” Given the increasingly manipulative, oppressive and some would say humiliating treatment that’s being thrust upon them during their assessment, they can’t help but wonder if putting themselves through such intrusive and degrading conditions is called for simply to get the approval to have a child. Indeed, the couple must ask themselves, “What do we really believe about this?”

Many of us would probably agree that this kind of hard-nosed scrutiny isn’t worth the demeaning behavior that Mia and Aaryan experience. However, they must look to their beliefs and decide accordingly if the payoff is justified, especially since, given that this is the future and technologies have advanced, there are alternatives available to them. They might not take the form they anticipated when they embarked on this process, but the eventual outcome may not be far off the mark from what they hoped for. And, even if they elect not to pursue those options, there are still other valuable considerations that they should examine by going through this process.

Perhaps the most important of these is learning how to establish healthy boundaries for themselves. Reasonable assessments may be one thing, but what Mia and Aaryan must endure is something else entirely, treatment that many would believe should be summarily dismissed given the indignities, potential embarrassment and possible penalties involved. At some point, protecting one’s self-esteem and personal honor significantly outweighs whatever hoped-for outcomes might be realized, no matter how disappointing that may be and how difficult it could be to accept. But will the couple have the wisdom to engage in their own form of scrutiny and devise beliefs in line with questioning this thinking? At what point does safeguarding personal sovereignty take precedence over the dictates of the state and its minions in matters like this? That’s what Mia and Aaryan must come to discover for themselves, an example for us all to follow when faced with circumstances like these, regardless of what the ultimate sought-after objective might be. Assessments must be put into context in the end, but will Mia or Aaryan (or we) have the insight and courage to do so? If nothing else, that’s the takeaway from this film, one that we shouldn’t hesitate to put into practice when conditions warrant.

Director Fleur Fortuné’s inventive social sci-fi thriller raises an array of probing, thoughtful questions, both for the characters, as well as audience members, particularly where matters of personal privacy and societal judgment 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 they would do under conditions like these. It’s an approach that generally keeps viewers hooked as the filmmaker’s debut feature plays out, despite some occasional lapses in pacing and a few sequences in which the action feels a little over the top (especially in some of 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. “The Assessment” is thus 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 if we’re not careful. The film is available for streaming online.

In an age where we’re increasingly being asked – if not coerced – into being what others would want us to be, with the pressures of assessment being applied to do so, we run the risk of losing sight of our true selves, of who we would choose to be. This is why the need to scrutinize scrutiny is becoming increasingly significant. This is particularly true in a world where we’re being asked to engage in such behavior as a trade-off for certain privileges, considerations that have long been fought for and thought of as fundamental rights. And, if that’s something not worth serious and thoughtful evaluation, I don’t know what is.

A complete review is available by clicking here.

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